ARTISTS 

OF  THE  NINETEENTH  CENTURY 
AND  THEIR  WORKS. 

31  $anDboofi 

CONTAINING  TWO  THOUSAND  AND  FIFTY  BIOGRAPHICAL 
SKETCHES. 

BY 

CLAKA  ekskine  clement 

AND 

LAUEENCE  HUTTON. 

TWO  VOLUMES  IN  ONE. 

VOL.  I. 


BOSTON  AND  NEW  YORK: 
HOUGHTON,  MIFFLIN  AND  COMPANY. 


Copyright,  1879,  and  1884 
By  CLARA  ERSKINB  CLEMENT. 
All  rights  reserved. 


TWELFTH  IMPRESSION 


PREFACE  TO  REVISED  EDITION. 


Reviewers  of  this  book  have  noted  the  absence  of  the  names 
of  some  of  the  earlier  and  well-known  artists  of  the  century. 
These  omissions  are  intentional.  Sketches  of  some  of  these  men 
are  included  in  Mrs.  Clement's  "  Painters,  Sculptors,  Architects, 
and  Engravers,"  and  the  aim  of  the  present  work  is  to  present 
the  later  artists  of  prominence  and  promise,  rather  than  to  in- 
clude all  those  of  the  century. 

[    Boston,  September,  1884. 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/artistsofnineteeOOwate 


PREFACE. 


This  work  is  devoted  to  the  Art  of  the9  Nineteenth  Century, 
and  very  largely  to  the  Art  of  the  present  day.  A  concise  bio- 
graphical account  is  given  of  the  artists,  followed  in  as  many 
instances  as  possible  by  critical  quotations  from  the  best  authori- 
ties in  various  languages.  In  many  cases  no  printed  accounts 
could  be  found  of  artists  whose  claims  to  notice  were  undoubted. 
This  difficulty  we  attempted  to  overcome  by  direct  personal  ap- 
plication to  them,  having  sent  letters  and  printed  circulars  to 
nearly  a  thousand  artists.  To  many  of  these  no  reply  has  been 
received,  and  in  some  cases,  in  justice  to  ourselves  as  well  as 
to  the  artists,  we  have  said,  "  No  response  to  circular,"  in  order 
to  explain  the  insufficiency  of  the  accounts  given. 

It  is  almost  needless  to  say  that  in  writing  of  what  belongs  to 
the  present  time  it  is  impossible  to  avoid  more  or  less  inaccuracy. 
In  some  cases  artists  have  not  done  themselves  justice  in  what 
they  have  said  of  their  works,  while  in  other  instances,  doubt- 
less, an  undue  enthusiasm  has  tinged  the  statements  made.  In 
printed  authorities,  too,  upon  current  events,  one  is  not  able  to 
insure  correctness  in  the  same  degree  as  in  writing  of  things  in 
the  past. 

A  large  proportion  of  the  critical  quotations  we  have  trans- 
lated for  this  purpose,  and  an  immense  number  of  catalogues  of 
exhibitions  and  museums  have  been  used  in  addition  to  the 
books  named  in  the  list  of  authorities  consulted. 

In  the  critiques  we  have  endeavored  to  give  an  average  opinion, 


vi 


PREFACE. 


and  frequently  directly  opposite  estimates  of  an  artist  have  been 
selected  in  order  to  enable  readers  to  judge  for  themselves  by 
comparing  the  conflicting  views. 

The  large  number  of  biographical  sketches,  about  two  thousand 
and  fifty,  has  made  many  accounts  shorter  than  we  wished,  and 
in  some  cases  the  lives  of  the  artists  have  been  so  uneventful  that 
a  list  of  their  principal  works  gives  (as  far  as  the  public  is  con- 
cerned) their  entire  history. 

In  the  Introduction  we  give  an  account  of  the  more  important 
academies  and  schools  of  Great  Britain,  the  Continent,  and  the 
United  States,  where  the  Fine  Arts  are  taught,  with  some  facts 
concerning  their  courses  of  study,  exhibitions,  rewards,  and  other 
matters  of  interest  in  this  connection. 

THE  AUTHOES. 

Cambridge,  January  10,  1879* 


CONTENTS. 


Page 

AUTHORITIES  CONSULTED   ix-x 

INTRODUCTION   xi-xxxix 

ARTISTS  OF  THE  NINETEENTH  CENTURY.   Vol.1.  .  1-386 

Vol.  II.  .  1-373 

INDEX  TO  AUTHORITIES  QUOTED   1-8 

INDEX  OF  PLACES   9-22 

GENERAL  INDEX   23-43 


AUTHORITIES  CONSULTED. 


American  Engravers  and  their  "Works. 
Benjamin's  Contemporary  Art  in  Europe. 
English  Artists  of  the  Present  Day. 
English  Painters  of  the  Present  Day. 
Great  American  Sculptors. 
Hamerton's  Thoughts  about  Art. 
Hamerton's  Painting  in  France. 
'Hamerton's  Contemporary  French  Painters. 
Hamerton's  Etching  and  Etchers. 
Jarves'  Art  Idea. 
Jarves'  Art  Thoughts. 
Men  of  the  Time. 
Mrs.  Tytler's  Modern  Painters. 
Ottley's  Living  and  Recent  Painters. 
Smith's  Art  Education. 
Tuckerman's  Book  of  the  Artists. 
Wornum's  Epochs  of  Painting. 
Appletons'  Art  Journal. 
London  Art  Journal. 
The  Portfolio. 
Magazine  of  Art. 
Palgrave's  Essays  on  Art. 
Redgrave's  Century  of  Painters. 
Ruskin's  Academy  Notes. 
Ruskin's  Modern  Painters. 
Taine's  Notes  on  England. 
Atlantic  Monthly. 
London  Athenjeum. 

Atkinson's  Northern  Capitals  of  Europe. 
Nichols'  Art  Education. 

Weir's  Official  Report  of  the  American  Centennial  Exhi- 
bition. 


X 


AUTHORITIES  CONSULTED. 


Report  of  the  United  States  Commissioners  at  Vienna. 

Mario  Proth's  Voyage  ait  Pays  des  Peintres. 

Chesneau's  Chefs  d'Ecole. 

L' Illustration. 

Gazette  des  Beaux-Arts. 

L'Art. 

Galerie  Contemporaine,  Litt^raire,  Artistique. 

Revue  des  Deux  Mondes. 

Cherbuliez'  Litterature  et  Art. 

Charles  Blanc's  Les  Artistes  de  mon  Temps. 

Claretie's  Artistes  Contemporains. 

T.  Gautier's  Salon  de  1861. 

E.  About's  Salon  de  1864. 

Roma  Artistica. 

Die  Kunstler  aller  Zeiten  und  Volker,  von  Professor  Fr. 

MULLER. 

Ansichten  uber  die  Beldenden  Kunste  von  einem  Deutschen 
Kunstler  in  Rom. 
Die  Deutsche  Kunst  in  unserem  Jahrhundert,  von  Dr.  Hagen. 
Die  Konigliche  Kunstakademie  in  Dusseldorf,  von  Wiegmann. 
Zeitschrift  fur  Bildende  Kunst. 
Gegenwart. 

Bryan,  Vapereau,  Bitard,  Nagler,  Larousse,  and  many  other 
Dictionaries  and  Encyclopedias. 


INTRODUCTION. 


The  following  pages  give  an  account  in  outline  of  the  Art 
Academies  and  of  the  Institutions  for  Art  Education  of  the  pres- 
ent day  in  various  countries  :  — 

Great  Britain.  —  The  Royal  Academy  of  Arts  in  London, 
membership  of  which  constitutes  the  Art  Peerage  of  Great  Brit- 
ain, was  founded  in  1768,  for  the  purpose  of  cultivating  and 
improving  the  arts  of  painting,  sculpture,  and  architecture.  The 
memorial  presented  to  George  III.,  asking  for  its  charter,  stated 
that  the  two  principal  objects  in  view  were  the  establishment  of 
a  well-regulated  school  or  academy  of  design,  and  an  annual  ex- 
hibition open  to  all  artists  of  distinguished  merit.  The  plan  of 
constitution  was  approved  and  signed  by  the  King  December  10, 
1768.  Among  the  thirty-six  original  members  were  Reynolds, 
Gainsborough,  Benjamin  West,  Mary  Moser,  and  Angelica  Kauf- 
mann.  The  first  President  was  Sir  Joshua  Reynolds,  succeeded 
in  1792  by  Benjamin  West. 

The  active  members  of  the  Royal  Academy  are  divided  into 
Academicians  (painters,  sculptors,  architects,  and  engravers),  As- 
sociates, and  Associate  Engravers.  The  number  of  members  has 
varied  from  time  to  time.  There  are  in  1884  forty-two  Acade- 
micians and  thirty-one  Associate  Academicians.  Beside  the 
active  members  there  are  Honorary  Members,  Honorary  Retired 
Academicians,  and  Honorary  Foreign  Academicians.  All  artists 
whose  works  show  sufficient  merit  are  permitted  to  contribute 
to  its  exhibitions ;  as  exhibitors  they  are  eligible  to  election  as 
Associates,  and  are  chosen  by  the  Academicians  at  the  annual 
meeting  of  the  Academy.  The  Academicians  themselves  are 
chosen  from  among  the  number  of  Associates  when  vacancies 
occur.  The  Academy,  since  its  foundation,  has  been  under  the 
direction  and  protection  of  Royalty.     All  by-laws  must  have 


xii 


INTRODUCTION. 


the  sanction  and  signature  of  the  reigning  sovereign  to  give 
them  effect,  and  the  approbation  of  the  monarch  is  necessary 
to  make  valid  any  election  as  Associate,  Academician,  Professor, 
or  Member  of  the  Council.  The  President  of  the  Eoyal  Acad- 
emy is  knighted  upon  election. 

The  annual  exhibitions  open  on  the  first  Monday  in  May,  and 
close  on  the  first  Monday  in  August.  No  artist  is  allowed  to 
exhibit  more  than  eight  different  works ;  no  work  is  admissible 
which  has  been  already  publicly  exhibited  in  London  ;  and  all 
works  sent  for  exhibition  are  submitted  to  the  judgment  of  the 
Council,  whose  decision  is  final.  Many  works  of  art  are  sold  an- 
nually at  these  exhibitions,  the  Academy  receiving  a  small  per- 
centage upon  the  sales. 

The  schools  of  the  Royal  Academy  are  the  most  complete  and 
most  important  Pine  Art  schools  in  Great  Britain.  There  are 
three  branches,  —  a  school  for  study  from  casts  of  celebrated 
works  of  antiquity,  a  school  for  study  from  living  models,  and 
a  school  of  painting.  All  applicants  are  admitted  free,  whose 
personal  character  is  established,  and  whose  works  show  indica- 
tions of  talent.  Prizes  are  annually  given,  including  a  gold 
medal  for  the  most  deserving  work.  There  is  also  a  traveling 
studentship,  occasionally  bestowed  upon  artists  of  uncommon 
promise  and  merit. 

There  are  four  professors  chosen  from  among  its  Academicians, 
who  lecture  upon  painting,  sculpture,  architecture,  and  chem- 
istry, besides  a  professor  of  anatomy,  not  necessarily  a  member 
of  the  Academy.  The  Library  of  the  Royal  Academy  is  very 
complete ;  it  contains  the  best  works  on  art  subjects  in  all  lan- 
guages, and  continual  additions  are  being  made.  There  is  also 
a  fine  collection  of  engravings  from  works  of  the  masters  of  all 
times  and  all  countries. 

The  early  exhibitions  of  the  Royal  Academy  were  held  in 
Pall  Mall.  In  1780  the  society  took  possession  of  the  apart- 
ments allotted  to  it  in  Somerset  House,  the  first  exhibition  there 
taking  place  in  1781.  In  1836  the  east  wing  of  the  National 
Gallery  on  Trafalgar  Square  was  granted  by  the  government  to 
the  Royal  Academy,  and  there  it  remained  until  it  removed,  in 
1869,  to  the  present  building,  Burlington  House,  Piccadilly, 
which  was  purchased  by  the  Crown  in  1854.  The  modern 
structure  is  in  the  form  of  a  hollow  square,  containing  twelve 
galleries.    It  was  erected  especially  for  the  Royal  Academy,  and 


INTRODUCTION. 


xiii 


is  one  of  the  finest  public  buildings  in  London.  Under  the 
same  roof  are  the  Chemical,  Geographical,  Astronomical,  Anti- 
quarian, and  Royal  Societies. 

The  British  Institution  for  the  encouragement  of  native  artists, 
frequently  mentioned  in  this  book,  was  established  in  1805,  but 
has  not  been  in  existence  for  some  years.  It  was  the  most  impor- 
tant rival  to  the  Eoyal  Academy  for  upwards  of  half  a  century. 

The  Society  of  British  Artists  in  London  was  founded  in 
1823,  for  the  annual  exhibition  and  sale  of  the  works  of  living 
artists  of  the  United  Kingdom,  in  the  various  branches  of  paint- 
ing, sculpture,  architecture,  and  engraving.  The  number  of  its 
members  is  not  limited.  For  some  years  it  supported  schools 
for  instruction  in  drawing  and  painting,  which  were  excellent 
in  many  respects,  but  which  from  want  of  public  patronage  and 
support  were  eventually  abandoned. 

The  gallery  of  this  Society  is  open  annually  during  the  months 
of  April,  May,  June,  and  July.  All  British  artists  are  invited 
to  exhibit.  It  is  supported  by  the  sale  of  catalogues,  admission- 
fees,  the  commissions  on  the  sales  of  pictures,  and  a  small  annual 
payment  of  ihe  members.  Many  very  prominent  British  artists 
have  belonged  to  this  society.  Its  gallery  is  in  Suffolk  street, 
Pall  Mall,  East.    It  has  also  a  Winter  exhibition. 

The  Dudley  Gallery  in  London  has  been  in  existence  since 
1864.  Its  first  exhibition  was  held  in  the  month  of  April,  1865. 
It  was  organized  for  the  public  display  of  water-color  pictures 
by  painters  who  were  not  members  of  the  regular  water-color 
societies,  and  who  in  consequence  were  not  permitted  to  send 
their  works  to  those  galleries.  It  had  no  regular  membership  ; 
the  pictures  were  selected  or  rejected  by  a  committee  of  manage- 
ment, and  the  exhibitions  were  open  to  all  artists  whose  merit 
or  skill  entitled  their  works  to  the  consideration  of  the  public. 
In  1883  this  gallery  passed  under  new  management  and  became 
The  Dudley  Gallery  Art  Society  with  about  a  hundred  and  fifty 
members.  The  Duke  of  Argyll  is  President,  and  the  name  of 
John  Ruskin  appears  in  the  list  of  the  Council.  A  limited  num- 
ber of  pictures  are  received  from  non-members.  In  1884  the 
membership  had  increased  to  nearly  two  hundred.  Besides  the 
spring  exhibitions  of  water-colors,  there  was  an  annual  exhibition 
of  cabinet  pictures  in  oil,  and  one  of  works  in  black  and  white. 

The  Grosvenor  Gallery,  on  New  Bond  street,  London,  is  the 
youngest  institution  of  its  kind  in  Great  Britain,  but  by  no 


xiv 


INTRODUCTION. 


means  the  least  important.  It  was  opened  to  the  public  for  the 
first  time  in  1877.  Like  the  Dudley  Gallery,  it  has  no  member- 
ship. It  is  under  the  management  of  Sir  Coutts  Lindsay,  to 
whom,  on  account  of  his  efforts  in  behalf  of  this  gallery,  the  art- 
loving  world  owes  much. 

Its  exhibitions  are  made  up  of  the  works  of  living  painters 
and  sculptors  who  are  invited  by  Sir  Coutts  Lindsay  to  con- 
tribute upon  these  occasions.  The  pictures  are  not  placed  closely 
together,  as  is  of  necessity  the  rule  in  ordinary  galleries,  but  a 
space  of  at  least  one  foot  is  allowed  on  every  side  of  each  work, 
and  all  are  hung  in  the  light  and  position  best  suited  to  them. 
The  consequence  is  that  each  work  appears  to  the  best  advantage, 
and  the  whole  has  the  effect  of  a  private  salon,  richly  and  har- 
moniously furnished,  in  which  is  a  superb  collection  of  the  works 
of  the  modern  masters. 

The  director  of  the  Grosvenor  Gallery  claims  that  it  is  not 
intended  to  rival  the  Royal  Academy,  and  the  works  of  many 
Academicians  are  seen  upon  its  walls ;  but  in  it,  nevertheless,  are 
conspicuous  the  paintings  of  what  is  known  as  the  Romantic 
School,  with  which  the  Council  of  the  Academy  does  not  seem 
to  be  in  sympathy,  and  which  in  many  instances  were  not  seen 
by  the  general  public  until  the  opening  of  the  Grosvenor  Gal- 
lery. 

Among  the  better  known  of  the  contributors  to  these  exhi- 
bitions have  been,  Millais,  Sir  Francis  Grant,  Sir  Frederick 
Leighton,  George  D.  Leslie,  George  H.  Boughton,  Burne- Jones, 
Alma-Tadema,  Spencer  Stanhope,  Walter  Crane,  Albert  Moore, 
Whistler,  Heilbuth,  Tissot,  Mrs.  Spartali-Stillman,  and  Mrs. 
Jopling. 

The  gallery  is  open  during  the  London  season,  and  annually 
receives  the  attention  it  merits.  The  building  it  occupies  was 
erected  under  the  personal  supervision  of  Sir  Coutts  Lindsay, 
by  whom  it  is  owned.  It  is  artistic  and  commodious  ;  it  has 
two  large  galleries  for  oil-paintings,  a  smaller  room  for  water- 
colors,  and  a  gallery  for  sculpture,  all  admirably  designed  for 
the  purposes  for  which  they  are  intended. 

In  the  early  part  of  the  present  century,  when  water-color 
painting  began  to  attract  popular  attention  in  Great  Britain,  a 
number  of  professional  artists  who  had  devoted  themselves  more 
particularly  to  that  branch  of  their  art  determined  to  form  an 
association  for  its  proper  recognition  and  their  own  mutual  pro- 


INTRODUCTION. 


xv 


teotlon  and  improvement.  The  result  was  the  Royal  Society  of 
Painters  in  Water-Colors,  organized  in  1804. 

It  would  appear  that  at  that  time  water-color  sketches  and 
drawings  were  not  admitted,  or,  if  received  at  all,  were  treated 
with  scant  courtesy  by  the  Eoyal  Academy,  and  the  main  object 
of  the  new  organization  was  to  insure  an  annual  exhibition  in 
London,  where  the  works  of  this  still  unpopular  school  of  paint- 
ing might  be  introduced  to  the  public  and  make  themselves 
felt. 

The  first  exhibition  was  held  in  Lower  Brooke  street  in  1805. 
For  some  years,  while  the  Society  was  struggling  for  the  recog- 
nition it  did  not  at  first  receive,  the  members  met  in  each  other's 
houses  and  studios  by  turn,  where  they  presented  studies  and 
sketches,  which  were  usually  left  with  the  host  of  the  night. 

The  prejudice  against  water-colors  was  so  strong,  however, 
that  the  Society  was  forced  to  admit  pictures  in  oil,  and  in  1813 
it  was  known  as  the  Society  of  Painters  in  Oil  and  Water 
Colors.  But  in  1821  the  old  name  was  resumed,  and  only 
works  in  water-colors  and  by  members  of  the  Society  were  re- 
ceived at  its  exhibitions.  Since  that  time  it  has  been  gaining  in 
strength  and  prosperity,  and  is  now  to  water-color  art  in  Great 
Britain  what  the  Eoyal  Academy  is  to  Fine  Arts  in  general. 
Its  President,  like  that  of  the  Eoyal  Academy,  is  knighted  upon 
election. 

The  annual  exhibitions  of  this  Society  were  first  held  in 
Spring  Gardens ;  in  1821  they  were  removed  to  Egyptian  Hall, 
Piccadilly,  and  at  present  (1884)  are  at  5  Pall  Mall,  East.  The 
gallery  is  open  for  exhibitions  twice  each  year.  It  has  forty 
members  and  forty  Associate  Exhibitors. 

The  Royal  Institute  of  Painters  in  Water-Colors,  originally 
known  as  the  New  Society  of  Painters  in  Water-Colors,  was 
founded  in  1831.  It  is  an  offshoot  of  the  older  society,  and  the 
result  of  a  secession  of  dissatisfied  members.  It  has  followed  in 
a  great  measure  the  constitution  and  laws  of  the  parent  organiza- 
tion, has  met  with  marked  success,  and  numbers  among  its  mem- 
bers many  of  the  most  prominent  and  promising  artists  of  the 
kingdom.  It  has  (1884)  ninety-two  members,  ten  honorary  mem- 
bers, and  nine  lady  members.  Its  new  galleries,  specially  erected 
for  the  Institute,  are  in  Piccadilly. 

Shortly  after  the  close  of  the  first  great  World's  Exhibition  in 
London  in  1851,  when  Great  Britain  for  the  first  time  realized 


XVI 


INTRODUCTION. 


her  inferiority  to  trie  continental  nations  in  the  matter  of  artis- 
tic taste  in  her  manufactures  and  in  her  industrial  educational 
policy,  a  new  section  was  formed  in  the  British  Privy  Council, 
called  the  Department  of  Science  and  Art,  which  devotes  itself 
particularly  to  popular  instruction  in  the  industrial  arts,  chiefly, 
thus  far,  in  drawing  and  the  arts  of  design. 

The  South  Kensington  Museum,  founded  in  1852,  is  the  most 
important  result  of  the  working  of  this  department.  It  cost 
originally  upwards  of  a  million  pounds  sterling,  and  during  the 
quarter  of  a  century  of  its  existence  between  three  and  four 
millions  sterling  have  been  judiciously  expended  upon  it.  Col- 
lections have  been  made  of  pictures,  casts,  engravings,  models, 
and  objects  of  art  of  all  kinds,  from  all  nations  and  of  all  periods. 
These  are  systematically  and  artistically  arranged,  and  are  open 
to  the  free  inspection  of  the  public,  and  for  the  study  and  im- 
provement of  thousands  of  pupils. 

The  National  Art  Training-Schools  of  South  Kensington  form 
without  question  the  finest  industrial  art  college  in  the  world, 
and  are  so  regarded  by  competent  judges  of  all  nations.  They 
were  established  for  the  purpose  of  teaching  instructors  in  art 
throughout  the  kingdom,  as  well  as  for  the  instruction  of  students 
in  drawing,  designing,  and  modeling,  to  be  applied  to  the  require- 
ments of  trade  and  manufacture.  The  course  of  study,  which  is 
very  full  and  complete,  is  too  extended  to  be  described  here.  It 
embraces  twenty  subjects,  with  sixty  subdivisions.  The  pupil  is 
required  to  present  drawings,  paintings,  and  models  ;  to  write 
papers  on  various  art  topics,  and  to  sustain  rigid  and  thorough 
examinations. 

More  than  a  thousand  students  (women  predominating)  are 
fitted  annually  in  all  branches  of  art,  —  painters,  sculptors,  en- 
gravers, lithographers,  architects,  and  designers,  as  well  as  public 
instructors.  The  sexes  are  divided  in  class-rooms  and  working- 
rooms,  while  the  lectures,  libraries,  etc.,  are  open  equally  to  both 
men  and  women.  The  examinations  are  the  same,  except  that 
women  are  not  required  to  take  the  papers  in  machine-drawing 
or  architecture.  At  the  end  of  the  course  of  four  years,  if  the 
record  of  the  pupil  is  satisfactory  to  the  examining  committee,  he 
or  she  is  given  a  diploma,  which  is  accepted  throughout  the 
civilized  world  as  the  highest  award  of  excellence  in  that  partic- 
ular department. 

Subordinate  to  and  connected  with  the  schools  of  South  Ken- 


INTRODUCTION. 


xvii 


sington  are  upwards  of  one  hundred  and  thirty  free  art  training- 
schools  established  by  the  government  in  the  more  important 
cities  and  towns  of  the  kingdom.  The  method  is  similar  to  that 
of  the  parent  school,  and  the  teachers  are  graduates  of  it. 

The  most  important  of  these  schools  are  those  of  Birmingham, 
Nottingham,  Glasgow,  Birkenhead,  Belfast,  Leeds,  etc.  In 
London  there  are  about  ten  schools ;  in  Dublin,  Edinburgh,  and 
Liverpool,  two  or  more  each.  It  is  estimated  that  at  least  three 
hundred  thousand  persons  are  now  studying  art  in  some  form  in 
Great  Britain  alone.  Before  the  organization  of  the  South  Ken- 
sington College,  the  number  of  British  art  students  did  not  num- 
ber one  thousand  annually,  and  the  large  proportion  of  these 
were  devoting  themselves  to  High  Art. 

The  Royal  Hibernian  Academy  of  Painting \  Sculpture,  and 
Architecture  in  Dublin  dates  from  1803.  It  was  incorporated  in 
1823  and  enlarged  in  1861.  It  is  under  the  patronage  of  the 
Queen,  and  the  vice-patronage  of  the  Lord-Lieutenant  of  Ire- 
land. Its  membership  consists  of  Academicians,  Associates,  and 
Honorary  Members. 

The  annual  exhibition  of  painting,  sculpture,  and  architecture 
opens  in  February ;  students  are  admitted  to  the  schools  on  pro- 
ducing a  certificate  from  the  Department  of  Science  and  Art, 
stating  that  the  applicant  has  passed  in  the  four  papers  of  free- 
hand, geometrical,  perspective,  and  object  drawing  of  the 
second  grade  ;  or  they  may  be  admitted  by  the  Council  of  the 
Academy  on  forwarding  specimen  drawings.  An  examination  of 
the  students'  work  is  held  in  the  autumn  by  the  President  and 
Keeper  in  conjunction  with  an  inspector  from  the  Department 
of  Science  and  Art,  when  medals  are  awarded. 

Professors  of  sculpture,  architecture,  and  painting  are  chosen 
from  among  the  Academicians ;  professors  of  anatomy,  history, 
and  archaeology  from  the  Honorary  Members,  or  it  may  be  from 
men  not  connected  with  the  Academy. 

Apart  from  these  schools  the  students  have  the  privilege  of 
working  and  copying  the  masters  in  the  National  Gallery  of  Ire- 
land on  Fridays  and  Saturdays  throughout  the  year.  There  are 
also  excellent  art  schools  in  Dublin,  subordinate  to  the  South 
Kensington  Museum,  at  the  Queen's  Institute,  and  at  the  Eoyal 
Dublin  Society  House. 

The  first  effort  towards  the  establishment  of  the  Royal  Scottish 
Academy  was  an  exhibition  of  paintings  in  1808  held  in  Edin- 


XV111 


INTRODUCTION. 


burgh.  It  was  followed  by  occasional  but  irregular  exhibitions 
of  the  works  of  Scottish  artists  in  other  years,  until,  in  1826, 
the  Scottish  Academy  of  Painting,  Sctdpture,  and  Architecture 
was  established,  which  afterwards  became  the  Royal  Scottish 
Academy  and  received  the  Royal  charter  in  1838.  Its  first 
President  was  George -Watson,  who  died  in  1837.  D.  0.  Hill, 
an  early  Secretary,  held  that  position  for  upwards  of  forty  years,; 
resigning  by  reason  of  ill-health  in  1869.  Of  the  thirteen  origi- 
nal members,  not  one  now  survives,  Kenneth  MacLeay,  the  last, 
having  died  in  1878. 

The  general  plan  of  the  institution  is  based  upon  and  is  similar 
to  that  of  the  Eoyal  Academy  of  London.  The  meetings  and 
exhibitions  were  held  in  the  Royal  Institution,  Edinburgh,  until 
the  erection  of  its  present  home  in  the  National  Gallery  of  Scot- 
land, the  foundation-stone  of  which  was  laid  by  the  Prince  Con- 
sort in  1850. 

While  the  larger  portion  of  the  works  sent  to  the  annual 
exhibitions  of  this  Academy  are  the  productions  of  native  and 
resident  Scottish  artists,  many  of  the  choicest  works  of  modern 
painters  and  sculptors  of  Great  Britain  and  of  other  countries  are 
also  received. 

Among  other  British  academies,  societies,  and  schools  of 
art  are,  the  Liverpool  Academy  of  Arts,  Liverpool  Water-Color 
Society,  the  Adelphi  Society  of  Arts,  Society  of  Female  Artists, 
Artists'  Society  of  Langham  Chambers,  London,  and  many  more 
in  the  metropolis  and  in  provincial  cities,  whose  workings  and 
aims  are  identical  with  those  of  which  more  full  accounts  are 
given  above. 

France.  —  Cardinal  Mazarin  granted  letters-patent  to  the 
Academy  of  Painting  and  Sculpture  at  Paris  in  1655.  In  1664 
it  received  the  Royal  bounty.  In  1671  the  same  minister  estab- 
lished an  Academy  of  Architecture.  The  Convention  of  1793 
abolished  both  these  Academies,  but  two  years  later  they  were 
revived  by  the  Directory  and  called  the  National  Institute.  In 
1803  Napoleon  I.  reorganized  this  Academy  under  the  name  of 
the  Imperial  Institute  of  France.  Again,  Louis  XVIII.  called 
it  the  Institute  of  France,  and  each  of  its  divisions  was  called 
an  Academy,  one  of  them  being  the  Academie  des  Beaux-Arts. 
This  consists  of  forty  members,  who  have  each  been  medaled  in 
one  of  the  departments  of  art  (painting,  sculpture,  architecture, 


INTRODUCTION. 


xix 


engraving,  and  music),  ten  Honorary  Academicians,  and  ten  For- 
eign Associates. 

The  meetings  of  the  Academy  occur  weekly ;  there  are 
memoirs,  transactions,  etc.,  and  one  of  its  important  duties  is 
the  superintendence  of  annual  examinations  for  prizes  for  the 
best  works  in  the  departments  already  named. 

The  ficole  des  Beaux-Arts  is  in  the  Eue  Bonaparte.  Instruc- 
tion is  here  given  to  Trench  pupils  from  fifteen  to  thirty  years 
of  age,  but,  as  foreigners  are  not  eligible  to  the  highest  prize  (the 
Prix  de  Rome),  they  are  allowed  to  enter  the  school  when  more 
than  thirty  years  old.  Women  are  not  admitted  to  this  institu- 
tion. The  conditions  of  admission  are  an  introduction  by  a 
French  artist  of  good  standing,  a  copy  of  a  register  of  birth  and 
parentage  or  a  passport,  a  drawing  from  life  executed  in'  twelve 
hours  which  indicates  decided  artistic  talent,  and  the  passing  an 
examination  in  certain  branches  of  general  study. 

The  Prix  de  Rome  is  the  grand  desideratum  of  all  French  stu- 
dents, and  carries  with  it  such  advantages  as  are  well  worth  striv- 
ing for.  The  French  Academy  at  Rome  is  presided  over  by  a 
member  of  the  Aeademie  des  Beaux- Arts,  and  the  gainer  of  the 
grand  prix  is  entitled  to  four  years'  study  there,  with  the  sum 
of  4,000  francs  annually ;  also,  after  his  return  to  France,  he 
receives  the  same  sum  during  four  more  years,  from  the  prize  of 
Mme.  Caen,  thus  being  freed  from  pecuniary  care  during  eight 
years. 

The  Salon,  or  annual  exhibition  at  Paris,  is  under  government 
direction.  Its  highest  reward  is  the  Medaille  d'Honneur,  the 
second,  the  Prix  du  Salon,  and  below  these  are  medals  of  three 
classes  in  each  department  of  the  exhibition.  The  Medaille 
d'Honneur  entitles  the  recipient  to  send  thereafter  any  work  to 
the  Salon  without  submitting  it  to  the  jury  of  admission.  The 
medalists  of  the  Salon  also  receive,  in  many  cases,  the  decora- 
tions of  the  Legion  of  Honor  in  various  grades. 

The  government  purchases  from  the  Salon  many  works  of 
art,  which  are  placed  in  the  Gallery  of  the  Luxembourg  or  in 
other  public  buildings  of  Paris,  or  sent  to  the  museums  or  gov- 
ernment buildings  in  provincial  cities.  The  Luxembourg  is 
essentially  a  permanent  exhibition  of  the  works  of  living  artists, 
or  those  deceased  within  ten  years. 

The  juries  for  the  admission  of  works  to  the  Salon  consist  of 
fifteen  members  for  painting,  nine  for  sculpture,  six  for  architec- 


XX 


INTRODUCTION. 


ture,  and  nine  for  engraving  and  lithography.  Of  these,  two 
thirds  are  chosen  by  a  vote  of  the  artists,  and  the  remaining  num- 
ber are  appointed  by  the  Government  Art  Bureau.  The  Director 
of  Fine  Arts  presides  over  another  jury  or  committee,  of  the  same 
number,  which  awards  the  prizes  and  medals  of  the  Salon. 

To  give  any  just  resume  of  the  various  schools  in  France  in 
which  drawing  is  taught  would  require  a  small  volume.  France 
has  been  always  anxious  to  provide  for  her  people  in  this  direc- 
tion, because  not  only  in  works  known  as  those  of  the  Fine  Arts, 
but  in  all  kinds  of  articles  de  luxe,  in  the  manufacture  of  which 
artistic  skill  and  taste  are  requisite,  she  has  employed  a  great  part 
of  her  industrial  energy,  and  from  them  has  reaped  a  rich  harvest 
pecuniarily.  Drawing  of  various  kinds  has  been  taught  in  the 
Ecoles  communales,  Ecoles  commerciales,  Ecoles  professionelles, 
Ecoles  de  dessin,  and  many  others.  The  schools  under  the 
charge  of  the  "  Christian  Brethren  "  in  all  parts  of  France  have 
done  much  for  the  cultivation  of  a  rudimentary  knowledge  of 
art ;  for  example,  that  of  St.  Sulpice  at  Paris  and  that  of  St. 
Michel  at  Havre,  which  stand,  perhaps,  at  the  head  of  this  class 
of  schools.  In  short,  the  interest  as  well  as  the  taste  of  the 
French  nation  has  made  art  education  a  care  of  the  State ;  but 
since  the  great  expositions  of  the  last  thirty  years  have  put  in 
comparison  the  advances  made  in  the  productions  of  all  nations, 
France  has  been  forced  to  look  to  her  laurels,  and  great  attention 
has  been  given  to  the  revision  and  careful  superintendence  of 
many  institutions  where  the  rudiments  of  art  in  various  branches 
are  taught.  In  1850  the  Commune  of  Paris  devoted  to  its  In- 
dustrial Schools  30,000  francs;  in  1875,  350,000  francs  were 
expended  upon  the  same  object,  and  the  Exposition  of  1878 
showed  the  benefits  which  resulted  from  this  expenditure.  While 
the  products  of  all  civilized  nations  are  constantly  advancing  by 
remarkable  strides,  it  would  seem  that  many  of  the  manufactures 
of  France  have  reached  the  very  perfection  of  elegant  beauty  in 
form  and  finish.  In  Paris,  in  addition  to  the  many  schools  above 
referred  to,  there  are,  every  Sunday,  at  the  Conservatory,  lectures 
from  eminent  scientists  and  artists  upon  the  application  of  art  to 
industry.  These  lectures  commence  at  eight  o'clock  a.  m.,  and 
with  short  intermissions  continue  until  ten  o'clock  p.  m.  They 
are  each  an  hour  long,  and  the  halls  where  they  are  given  are 
always  crowded.  There  are  also  similar  lectures  in  every  ward 
in  Paris. 


INTRODUCTION. 


xxi 


When  we  speak  of  the  school  of  any  one  artist  in  Paris  we 
refer  to  a  school  quite  separate  from  the  government  organiza- 
tions, each  one  being  governed  according  to  the  wishes  of  the 
master  and  pupils.  There  are  two  modes  of  organizing  these 
schools.  In  one  case  the  master  opens  an  atelier  and  the  students 
pay  a  monthly  tuition  fee  averaging  from  one  ■  to  two  hundred 
francs.  Each  pupil  furnishes  himself  with  materials  and  goes 
on  with  his  work.  The  master,  at  stated  times,  usually  twice  a 
week,  examines  the  work  and  gives  advice,  suggestions,  etc.,  for 
the  assistance  of  the  student. 

The  second  mode  is  for  a  company  of  students  to  form  a  sort 
of  club,  hire  an  atelier,  make  all  arrangements  according  to  their 
ideas,  and  invite  the  master  upon  whom  they  agree  to  become 
their  professor.  They  pay  an  admittance  fee  to  the  treasurer, 
whom  they  choose,  and  each  month  a  sum,  from  twenty-five  to 
one  hundred  francs,  for  the  expenses  of  the  atelier.  The  master 
gives  his  instruction  in  the  same  manner  as  under  the  first  ar- 
rangement, but  receives  no  pecuniary  recompense,  whereas  by 
the  other  mode  the  professor  reaps  both  fame  and  money. 

Italy.  —  The  earliest  academies  of  Fine  Arts  existed  in  Italy. 
That  of  St.  Luke  at  Eome  was  established  in  1593  by  Federigo 
Zucchero,  who  was  its  first  President  and  who  erected  a  building 
for  it  at  his  own  expense.  In  the  palmy  days  of  Italian  art 
almost  every  city  of  Italy  had  its  schools  and  its  academy.  Dur- 
ing the  Kenaissance  the  art  school  of  each  separate  monarchy  and 
republic  was  strong  in  its  individual  characteristics.  Of  all 
these  schools  with  their  magnificent  results  much  has  been 
written. 

Of  late  years  the  academies  of  Eome,  Florence,  Bologna,  Turin, 
Parma,  Milan,  and  other  Italian  cities  have  moved  quietly  on, 
suffering  more  or  less  from  the  political  changes  and  uncertainties 
of  the  government  under  which  they  existed.  Now  that  the 
unity,  so  long  desired,  has  been  attained,  we  may  hope  for  new 
life  in  that  country  which  has  been  for  centuries  the  fountain- 
head  of  inspiration  and  knowledge  to  the  Fine  Arts  of  the  world. 

The  skill  of  the  Italians  in  wood-carving,  faiences,  bronzes, 
and  marbles  has  been  universally  admitted.  Of  course  much  of 
the  training  necessary  to  these  productions  has  been  gained  in 
the  Scuola  Tecnica,  where  drawing  has  always  been  carefully 
taught.    We  can  only  name  a  few  of  the  principal  schools  here, 


xxii 


INTRODUCTION. 


not  having  space  for  any  detailed  account  of  them.  They  are 
the  Institute  Industriale  e  Professionale,  and  the  Scuola  di 
Ornamentacione  del  R.  Museo  Industriale  of  Turin,  the  Instituto 
Tecnico  of  Alessandria,  the  Reale  Scuola  Tecnica  of  Pavia,  the 
Patrio  Instituto  Manin  of  Venice,  the  Scuola  Tecnica  Pareggiata 
of  Ferrara,  the  Scuola  Tecnica  Diurna  and  the  Scuola  Tecnica 
Serale  of  Bologna,  the  communal  school  of  Dante  and  other 
technical  schools  of  Florence,  the  Scuola  di  Disegno  Applicato 
alle  Arti  of  Naples ;  and  even  the  schools  of  Salerno,  Sardinia, 
and  Messina  are  all  worthy  of  attention,  as  well  as  those  of  the 
same  order  in  Rome. 

The  objection  may  be  made  to  the  Italian  schools  that  they 
follow  traditions,  and  repeat  ad  infinitum  the  old  forms,  — 
in  a  word,  that  nature  is  forgotten ;  but  We  may  well  believe 
that  the  freer  thought  which  prevails  in  all  other  directions  in 
the  Italy  of  our  day  will  extend  to  art,  and  will  find  well- 
trained  hands  ready  to  obey  its  dictates  and  express  its  inspira- 
tions. 

Bavaria.  —  The  Academy  of  Munich  is  of  great  importance 
to  the  art  world  of  to-day.  The  number  of  art  students  in  that 
city  is  larger  in  proportion  to  the  whole  population  than  in  any 
other  art  center  of  Europe. 

The  Royal  Bavarian  Academy  of  Munich  was  founded  in 
1808  by  Maximilian  I.  Ludwig  I.  when  Crown  Prince  was 
much  in  Rome,  and  associated  with  the  German  artists  studying 
there.  When  he  became  King  he  gave  the  most  enthusiastic 
patronage  to  art,  and  has  been  fittingly  called  the  Lorenzo  de' 
Medici  of  Germany.  This  Academy  has  given  every  encourage- 
ment to  foreign  artists  to  study  and  settle  in  Munich.  There 
are  no  annual  exhibitions,  as  in  Paris,  but  generally  one  occurs 
every  three  or  four  years. 

The  Kunstverein,  an  association  of  Munich  artists,  has  a 
gallery  in  which  are  displayed  the  latest  works  executed  by 
them.  The  pictures  are  sent  there  weekly,  and  after  remaining 
one  week  are  sent  to  other  cities  for  exhibition  unless  purchased 
by  the  association,  which  is  frequently  the  case  when  the  price 
does  not  exceed  fifteen  hundred  marks.  The  subscribers  raffle  for 
these  works  at  the  end  of  the  year.  Each  member  pays  a  yearly 
fee  of  twenty  marks,  and  receives  an  engraving  valued  at  ten 
marks. 


INTRODUCTION. 


xxiii 


Munich,  Nuremberg,  Eatisbon,  Tols,  Giinzburg,  Werdenfels, 
Landsberg,  Aichach,  Bosenheim,  Wiirzburg,  Fiirth,  Beyreuth, 
Freising,  and  other  cities  and  towns  in  Bavaria  give  attention  to 
such  teaching  in  their  schools  as  furnishes  a  good  foundation  for 
the  art  and  art  industry  of  the  nation.  Naturally  Munich  is  at 
the  head  of  these  matters. 

In  the  Nuremberg  school  the  Fine  Arts  and  Art  Industry  are 
united.  This  institution  was  founded  by  Joachim  von  Sandrart 
in  1662,  and  though  it  was  for  a  long  time  thoroughly  devoted 
to  Gothic  art  and  its  traditions,  it  has  gradually  embraced  the 
more  modern  German  and  the  Italian  spirit.  This  school  is 
second  only  to  that  of  South  Kensington,  and  in  some  points 
excels  even  that  institution. 

The  school  for  wood-carving  at  Werdenfels  is  worthy  of  special 
commendation,  and  many  Bavarian  schools  have  reached  a  high 
standard  of  excellence. 

Prussia.  —  The  Royal  Academy  of  Fine  Arts  of  Berlin  holds 
a  very  important  place  in  German  art.  It  has  recently  been 
reorganized,  and  a  chair  of  belles-lettres  added  to  its  professor- 
ships. Biennial  exhibitions  have  been  established,  which  will 
give  a  great  impulse  to  art  as  their  advantages  are  more  widely 
felt. 

The  large  gold  medal,  the  highest  award  of  this  Academy,  en- 
titles its  recipient  to  two  years  of  travel  and  study,  and  in  cases 
of  unusual  merit  the  time  is  extended.  This  prize  is  not  given 
to  foreigners.  The  small  gold  medal  and  the  large  and  small 
silver  medals  are  conferred  upon  artists  of  all  nations.  The  ex- 
hibitions open  in  August,  and  continue  three  months.  Many 
works  are  purchased  by  the  government 

The  German  Industrial  Museum  at  Berlin  was  established  in 
1866.  It  receives  much  support  from  the  State,  and  has  the 
benefit  of  the  "Frederick  William  Fund"  of  100,000  thalers. 
The  collections  of  this  Museum  are  fine,  and  its  schools  are  in  a 
very  flourishing  condition.  There  is  a  branch  school  at  Magde- 
bourg.  Prussia  was  more  backward  than  some  other  portions  of 
Germany  in  giving  attention  to  art  industries,  but  their  impor- 
tance is  more  and  more  felt  from  year  to  year,  and  recent  ex- 
hibitions have  shown  rapid  advance  in  these  directions.  The 
drawing-school  of  the  Museum  Wallraf-Eichartz  in  Cologne  is 
especially  to  be  commended. 


xxiv 


INTRODUCTION. 


Austria.  —  The  Royal  Academy  of  Art  at  Vienna  is  princi- 
pally in  charge  of  professors  whom  the  Emperor  has  summoned 
from  Munich.  Prominent  among  them  are  Eeuerbach  and 
Makart.  Vienna  ranks  very  high  among  the  cities  of  Germany 
in  her  architecture,  and  what  may  be  termed  household  art  is 
here  brought  to  exquisite  perfection.  The  glassware  of  the 
Viennese  is,  in  design  and  execution,  the  first  of  the  present  day, 
the  artists  employed  in  this  department  being  as  skilled  as  those 
of  Sevres  at  its  best  periods. 

The  Museum  of  Art  and  Industry  at  Vienna  was  established 
in  1864.  Its  permanent  building  was  not  ready  for  occupation 
until  1871.  This  Museum  is  liberally  endowed  by  the  State, 
and  has  also  received  valuable  gifts  both  of  money  and  of  articles 
proper  for  its  use  and  adornment.  Pupils  of  all  nationalities 
and  of  both  sexes  are  admitted  to  the  classes  of  this  institution. 
There  are  many  free  scholarships  for  those  who  are  unable  to 
afford  the  reasonable  tuition  fee  demanded  of  the  paying  pupils. 
There  are  several  courses  of  lectures  in  connection  with  this 
institution,  some  of  them  being  open  to  the  general  public. 
Artists  and  workingmen  can  profit  by  the  collections  and  the 
library  by  a  system  of  cards  which  passes  them  free  to  the 
Museum  at  all  times  and  gives  them  books  for  use  as  they  need 
them.  The  publications  of  the  Museum  are  quite  extensive, 
consisting  of  books,  photographs,  casts,  a  monthly  journal,  etc. 
On  four  days  of  the  week  the  Museum  is  free,  and  on  the  other 
three  days  the  charge  for  admission  is  very  moderate,  only  about 
twenty  cents.  The  branches  taught  in  the  schools  of  the  Mu- 
seum are,  Architecture  in  its  Application  to  the  Ornamentation  of 
Buildings,  Sculpture,  Ornamental  Drawing,  and  Figure  Drawing 
and  Painting  in  their  relations  to  art  industry.  This  school  may 
be  ranked  the  third  of  its  kind  in  Europe,  being  the  best  after 
those  of  South  Kensington  and  Nuremberg.  There  are  in  Austria 
a  large  number  of  art  industry  schools  ;  some  in  which  but  one 
branch  of  drawing  or  modeling  is  taught,  and  others  where 
several  branches  can  be  pursued.  Many  such  institutions  have 
been  established  since  the  Vienna  Exposition  in  1873,  which 
served  to  arouse  a  great  interest  in  these  matters  and  to  give 
an  impetus  to  the  movements  for  their  advancement.  Among 
these  schools  may  be  named,  a  School  for  Glass-Industry  at 
Steinschonau,  established  in  1855;  one  at  Haida  for  the  same 
industry,  and  another  at  Gablonz,  both  established  in  1870; 


INTRODUCTION. 


xxv 


Drawing  and  Modeling  School  for  Clay-Industry  at  Znaim, 
established  in  1872;  Wood-Carving  Schools  at.Groden,  Inns- 
bruck (that  of  Sebastian  Steiner),  Imst,  Mondsee,  Hallst'adt, 
Hallein,  Gmiind,  Wallern,  Bohemia,  and  Tachau.  There  are 
also  schools  for  special  artistic  training  in  various  other  industries, 
and  some  of  those  for  weaving,  embroidery,  and  the  like  are  of 
great  interest.  Since  about  1850  these  schools  have  especially 
advanced  in  Austria,  and  that  country  has  now  reason  to  congrat- 
ulate herself  on  the  prosperous  state  of  art  within  her  borders. 

The  Academy  of  Diisseldorf  was  more  prominent  a  quarter  of 
a  century  ago  than  it  is  at  the  present  time.  However,  within 
a  few  years  a  new  manner  of  working  has  been  introduced,  and 
the  rank  of  the  school  is  now  much  higher  than  it  was  a  dozen 
years  ago. 

The  Academy  of  Arts  at  Dresden  was  founded  in  1697,  and 
though  not  one  of  the  most  prominent  of  German  art  schools,  it 
has  sent  forth  a  goodly  number  of  men  who  have  been  an  honor 
to  their  Alma  Mater. 

The  Royal  Academy  at  Carlsruhe  is  another  important  school, 
and  that  of  Stuttgart  merits  attention.  In  the  last-named  city 
there  is  much  interest  in  historical  painting,  and  a  society  has 
been  organized  there  for  the  encouragement  of  this  branch  of  art 
in  Germany.  The  different  German  sovereigns  are  subscribers 
to  this  society,  as  well  as  many  artists  and  connoisseurs  of  all 
states  of  the  Empire.  An  annual  exhibition  is  held,  and  the 
artists  send  to  the  superintending  committee  color  sketches  of 
their  works  for  approbation  or  rejection.  After  the  exhibition 
some  works  are  purchased  with  the  general  fund,  and  are  dis- 
posed of  by  lotteries  to  the  subscribers  to  the  association. 

The  schools  of  Stuttgart,  Eottenberg,  Biberach,  Ellwangen, 
Esslingen,  Eavensburg,  Scheveningen,  and  many  others  have 
shown,  by  their  exhibits  in  the  great  expositions  and  elsewhere, 
that  Wiirtemberg  is  able  to  take  high  rank  in  all  branches  of 
drawing,  in  modeling,  carving,  etc.  The  Eoyal  Wiirtemberg  Art 
Industrial  School  at  Stuttgart  was  especially  prominent  in  the 
Exposition  at  Vienna  in  1873,  and  its  landscape  studies  were 
fine. 

There  is  probably  no  city  in  all  Germany  in  which  greater 
attention  is  paid  to  the  teaching  of  drawing  in  its  different  re- 
lations to  art  and  to  art  industry  than  in  Hamburg,  and  its  In- 


XXVI 


INTRODUCTION. 


dustrial  School  ranks  very  high  among  institutions  of  a  similar 
character. 

Belgium  and  the  Netherlands.  —  The  Imperial  and  Royal 
Academy  of  Sciences  and  Fine  Arts  of  Brussels  was  established 
by  the  Empress  Maria  Theresa  in  1772,  and  is  one  of  the  most 
important  benefits  which  this  sovereign  conferred  upon  her 
country.  But  it  was  not  until  1 845  that  a  course  of  instruction 
for  the  study  of  painting,  sculpture,  engraving,  architecture,  and 
music  was  authorized  in  this  institution,  and  professors  in  all 
these  branches  appointed.  This  academy  has  a  system  of  con- 
cours  and  of  prizes,  which  enables  artists  to  profit  by  foreign 
residence  and  study ;  and  what  may  be  termed  the  "  Brussels 
School "  of  artists  ranks  high  in  the  history  of  contemporary  art. 
The  academies  of  Botterdam,  Amsterdam,  and  other  cities  of  these 
countries  are  of  more  or  less  importance  in  the  consideration  of 
these  matters,  but  the  attention  to  Fine  Arts  and  Art  Industry  is 
not  as  great  here  as  in  other  nations  of  Europe,  and  the  glory 
of  Dutch  art  essentially  belongs  to  the  past. 

Switzerland.  —  There  are  many  drawing-schools  and  mu- 
seums and  frequent  exhibitions  in  Switzerland,  but  in  the  wood- 
carving,  the  principal  art  production  of  the  country,  little  advance 
is  seen.  The  old  forms,  the  old  naturalism,  prevails.  Professor 
Langl,  in  his  report  upon  the  Vienna  Exposition  of  1873,  says 
that  "the  Swiss  need  a  'Frullini'  to  turn  their  skill  to  better 
account  in  more  refined  and  more  artistic  productions."  But 
since  there  is  no  academy,  no  art  center  in  the  country,  and  since 
little  money  is  expended  by  the  government  for  the  advancement 
of  art,  it  is  not  strange  that  the  real  artists  of  Switzerland  go  to 
Italy,  to  France  and  Germany,  and  that  their  adopted  countries 
rather  than  their  own  reap  the  benefit  of  their  achievements. 

Northern  Countries.  —  The  artists  of  the  Northern  countries, 
Sweden,  Norway,  and  Denmark,  go  to  Germany  so  largely  for 
their  education  that  their  productions  are  essentially  the  same  as 
those  of  the  German  schools.  The  only  difference  seems  to  lie  in 
the  characteristics  of  the  scenery  of  their  native  seas  and  moun- 
tains, their  waterfalls  and  fiords,  rather  than  in  any  distinctive 
modes  of  representation.  In  fact,  many  artists  from  the  North 
live  permanently  in  Diisseldorf,  Munich,  Carlsruhe,  and  other 
German  cities.    They  also  travel  much,  and  seek  abroad  the  ad- 


INTRODUCTION. 


xxvii 


vantages  of  study  and  artistic  companionship  which  are  not  to 
be  had  at  home. 

The  Academy  of  Fine  Arts  at  Stockholm  was  established  in 
1733  by  the  exertions  of  Charles  Gustavus,  Count  of  Tessin. 

The  Academy  of  Fine  Arts  at  Copenhagen  was  established  in 
1738  and  incorporated  in  1754. 

The  Imperial  Academy  of  Fine  Arts  at  St.  Petersburg  was 
founded  in  1765,  and  was  also  richly  endowed  by  Catherine  II. 
Its  students  are  supported  in  Germany  and  Italy,  which  is  also 
true,  to  a  large  extent,  of  all  the  Northern  academies. 

The  Society  for  the  Encouragement  of  the  Arts  at  St.  Peters- 
burg, and  the  drawing-school  Stroganoff  at  Moscow,  with  some 
technical  schools,  are  the  only  institutions  in  Eussia  known  to 
us,  where  the  people  are  systematically  taught  practical  execution 
of  models  in  plaster  and  clay  as  well  as  drawing  of  different 
kinds. 

Spain  and  Portugal.  —  The  Royal  Academy  of  Painting  and 
Sculpture  at  Madrid  was  established  in  1753.  Prizes  are  dis- 
tributed every  three  years.  Of  late  Spanish  art  students  make 
a  name  in  Rome  and  Paris  as  frequently  as  at  home.  There  are 
a  few  provincial  academies  in  Spain,  and  some  attempts  at  the 
cultivation  of  art  industry,  but  the  unsettled  state  of  the  Spanish 
government  and  the  isolated  position  of  Portugal  are  causes  which 
hinder  the  advance  in  these  countries  that  is  so  evident  in  others 
which  we  have  considered. 

United  States  of  America.  —  The  history  of  the  National 
Academy  of  Design  in  New  York  commences  with  the  beginning  of 
the  nineteenth  century.  In  1802  the  New  York  Academy  of 
Fine  Arts  (the  first  of  its  kind  in  that  city)  was  established.  In 
1808  it  received  its  charter  from  the  State,  and  was  called 
the  American  Academy  of  Arts.  The .  only  professional  artist 
among  its  members  was  John  Trumbull,  who  was  its  first  Vice- 
President,  and  later  its  presiding  officer.  The  Board  of  Directors 
was  composed  of  the  most  prominent  men  of  various  professions 
and  occupations.  It  had  an  Antique  School,  and  gave  occasional 
but  not  regular  exhibitions,  the  first  of  which  was  held  in  Green- 
wich street,  near  Morris.  It  was  never  successful,  and  was  finally 
absorbed  in  the  present  National  Academy  of  Design. 

In  1825  a  number  of  professional  artists,  who  had  felt  them- 


*xviii 


INTRODUCTION. 


selves  ignored  as  a  body  in  the  earlier  association,  established  a 
society  which  was  called  the  New  York  Drawing  Association. 
This,  under  the  leadership  of  Professor  Morse,  in  1826  formed 
the  National  Academy  of  the  Arts  of  Design.  The  first  ex- 
hibition took  place  on  the  corner  of  Broadway  and  Eeade  street 
in  May  of  that  year.  Its  first  charter  was  received  in  1828,  and 
its  present  title,  National  Academy  of  Design,  adopted.  Of 
the  original  fifteen  members,  but  three  remained  alive  in  1884, 
John  Evers,  Asher  B.  Durand,  and  Thomas  S.  Cummings. 
After  holding  its  meetings  and  exhibitions  in  various  buildings 
in  different  parts  of  the  city,  it  took  possession  of  its  present 
structure  on  Twenty-third  street,  corner  of  Fourth  Avenue,  in 
1865. 

The  members  of  the  National  Academy  are  termed  Academi- 
cians. There  is  also  a  subordinate  body  called  Associate  Acade- 
micians. The  number  of  these  Academicians  and  Associates  is 
not  limited  by  law,  as  is  the  case  with  the  members  of  the  Royal 
Academy  in  London.  The  Associates  are  nominated  and  bal- 
loted for  at  the  annual  meeting  of  the  Academy  in  May,  a  vote 
of  two  thirds  of  the  Academicians  present  being  necessary  to  a 
choice.  The  candidates  must  be  professional  artists  ;  it  is  neces- 
sary that  they  should  have  exhibited  in  the  galleries  of  the 
National  Academy  for  at  least  one  season  before  their  nomina- 
tion, and  they  are  required  within  one  year  of  their  election 
to  present  their  own  portraits  (painted  by  themselves  or  other 
artists)  to  the  Academy.  The  Academicians  are  chosen  from  the 
body  of  Associates,  and  are  elected  in  a  similar  manner.  They 
are  required  to  send  a  "  diploma  work,"  a  specimen  of  their  art, 
to  be  preserved  in  the  permanent  gallery  of  the  institution. 
There  are  at  present  (1884)  but  three  women  who  are  Associate 
Members  of  the  National  Academy,  Miss  Fidelia  Bridges,  Mrs. 
Eliza  Greatorex,  and  Mrs.  H.  A.  Loop. 

Besides  active  members  the  Academy  has  a  number  of  Honor- 
ary Members,  consisting  of  distinguished  artists  and  art  lovers  of 
different  nations,  and  a  body  of  Fellows,  established  in  1863,  for 
the  purpose  of  increasing  the  revenues  of  the  Academy  and  pro- 
moting more  general  and  intimate  association  between  artists  and 
their  sympathizers.  The  Fellows  are  admitted  to  the  reading- 
rooms,  library,  and  exhibitions,  and  have  the  privilege  of  nomi- 
nating annually  two  students  to  the  schools.  A  subscription  of 
one  hundred  dollars  constitutes  a  fellowship  for  life.    The  annual 


INTRODUCTION. 


XXIX 


exhibitions  of  the  National  Academy  open  in  March  or  April, 
and  continue  two  or  three  months,  no  regular  time  being  fixed. 
Several  winter  exhibitions  have  been  held,  but  these  are  now 
discontinued.    There  are  also  special  Fall  exhibitions. 

The  schools  of  the  National  Academy  are  a  very  important 
feature  in  its  organization.  They  have  existed  since  its  founda- 
tion in  various  forms,  and  are  to  the  Fine  Art  schools  of  America 
what  the  schools  of  the  Eoyal  Academy  are  to  the  provincial 
schools  in  England,  or  l'Ecole  des  Beaux-Arts  is  to  the  lesser 
schools  of  France.  They  are  open  day  and  evening,  from  Octo- 
ber until  June,  free  to  both  sexes.  All  students  must  first 
enter  the  Antique  School.  For  admission  to  this  the  applicant 
is  required  to  present  a  shaded  drawing  of  some  part  of  a 
cast  of  the  human  form,  of  sufficient  merit  to  promise  hope  of 
future  advancement.  A  thorough  course  of  study  from  the  an- 
tique is  necessary  before  the  pupil  is  permitted  to  enter  other 
classes.  Students  of  the  Antique  School  only  are  eligible  for 
admission  to  the  Life  School.  The  studies  here  are  from  both 
draped  and  nude  models.  In  the  Painting  Schools  the  studies 
are  from  living  models  only,  and  only  students  of  the  Life  School 
are  permitted  to  enter.  These  different  departments  are  under 
competent  instructors,  and  the  academic  course  is  similar  to  tha\t 
of  like  institutions  in  European  countries.  The  lectures  of  the 
Academy,  both  technical  and  general,  are  open  to  all  classes  of 
students.  An  exhibition  of  selected  drawings  by  the  students  is 
held  in  the  library  rooms  in  May  of.  each  year,  continuing  two 
weeks,  when  the  annual  distribution  of  awards  of  merit  is  made 
by  the  President  of  the  academy. 

The  Society  of  American  Artists  was  organized,  June  1,  1877, 
by  a  number  of  the  younger  professional  painters  and  sculptors 
who  had  been  educated  in  Europe.  In  foreign  study  they  had 
acquired  art  methods  and  principles  somewhat  at  variance  with 
those  hitherto  generally  adopted  in  the  United  States.  Feeling 
that  the  members  of  the  National  Academy  as  a  body  were  not 
in  full  accord  with  their  art  ideas,  and  that  they  could  only  hope 
for  a  tardy  and  reluctant  recognition  in  the  annual  exhibitions  of 
that  institution,  they  decided  to  form  a  society  which  would 
enable  them  to  come  before  the  public  under  more  favorable 
auspices. 

Their  first  exhibition  was  held  in  the  Kurtz  Gallery,  New 
York,  in  March,  1878. 


XXX 


INTRODUCTION. 


Important  works  were  contributed  by  the  members,  and  by- 
other  American  artists  at  home  and  abroad  who  were  in  sym- 
pathy with  the  new  movement.  This  exhibition  was  an  artistic 
and  financial  success,  and  it  is  proposed  to  hold  others  of  the 
same  order,  annually,  and  occasionally  from  time  to  time  as  cir- 
cumstances may  demand. 

The  Society  at  present  (1884)  has  seventy-seven  members,  and 
will,  at  stated  periods,  elect  others  whose  ability  and  feeling  may 
qualify  them  to  further  its  aims  of  "  cultivating  true  art  prin- 
ciples, fresh  and  vigorous  technique,  and  progressive  and  catholic 
views  in  all  matters  relating  to  art." 

The  Art  Students1  League,  founded  in  1875,  and  incorpo- 
rated in  1878,  is  maintained  by  a  number  of  young  artists  of 
JSTew  York,  for  the  purpose  of  securing  the  advantages  of  thor- 
ough academic  instruction  in  their  profession.  Its  course  em- 
braces drawing,  painting,  or  modeling,  together  with  instruction 
in  artistic  anatomy,  perspective,  and  composition.  Being  ex- 
clusively a  life  school,  a  high  standard  of  admission  is  maintained, 
and  as  it  is  controlled  by  the  students  themselves,  a  practical 
management  is  secured,  and  the  more  advanced  methods  of 
instruction  are  followed.  The  membership  of  the  League  is 
composed  of  professional  artists  and  students  of  both  sexes, 
and  the  classes  are  open  to  all  who  have  attained  the  required 
standard  in  drawing.  Applicants  for  admission  to  the  Life  Class 
must  submit  a  drawing  of  a  full-length  figure  from  a  cast  or  from 
life,  to  the  Portrait  Class  a  drawing  of  a  head  from  a  cast  or 
from  life,  and  to  the  Composition  Class  an  original  design.  The 
classes  are  open  daily  from  the  1st  of  October  until  the  1st  of 
June,  and  the  price  of  tuition  is  placed  at  a  rate  simply  sufficient 
to  defray  the  actual  cost  of  maintaining  the  several  classes.  It 
has  over  one  hundred  members,  while  double  that  number  of 
pupils  are  annually  received.  Monthly  receptions  are  given,  at 
which  pictures  and  studies  by  the  best  artists  are  exhibited. 

A  few  pictures  upon  a  small  screen  in  the  Art  Department  at 
the  exhibition  in  the  Crystal  Palace,  New  York,  in  1853,  which 
were  classified  separately  in  the  catalogue  as  "  Water-Color  Paint- 
ings by  Members  of  the  New  York  Water-Color  Society  "  may 
be  considered  the  beginning  of  the  water-color  movement  in 
America.  The  society,  however,  was  short-lived,  and  soon  after 
this  effort  it  passed  quietly  out  of  existence.  A  few  years 
later,  some  two  hundred  water-color  drawings  by  English  artists 


INTRODUCTION. 


xxxi 


were  sent  to  New  York  and  were  offered  for  sale  at  auction. 
The  prices  bid  for  these  were  considered  insufficient ;  they  were 
withdrawn,  and  the  greater  part  of  them  were  returned  to  Eng- 
land. In  1863  the  collection  of  Mr.  John  Wolfe  was  sold  in 
the  same  city.  It  contained  some  very  choice  water-colors  of 
the  English  school,  and  attracted  much  attention.  In  the  fol- 
lowing year  many  French  and  German  water-color  painters  con- 
tributed to  the  New  York  Metropolitan  Fair.  In  the  spring  of 
1866  a  number  of  water-color  sketches  were  exhibited  by  the 
French  Etching  Club,  and  in  the  autumn  of  that  year  the  Artists' 
Fund  Society  made  a  special  feature  of  water-colors,  devoting  the 
east  gallery  and  corridor  of  the  National  Academy  to  their  exhi- 
bition. These  were  the  works  mainly  of  European  artists,  for 
very  little  was  known  of  this  process  up  to  that  time  on  the 
Western  Continent.  The  collection  excited  so  much  interest 
that  a  call  was  addressed  to  professional  artists  and  amateurs 
signed  by  Samuel  Colman,  William  Hart,  William  Craig,  and 
Gilbert  Burling,  to  a  meeting  held  in  Burling's  studio  on  the 
5th  of  December,  1866,  which  led  to  the  organization  of  the 
American  Society  of  Painters  in  Water-Colors.  Its  first  Presi- 
dent was  Samuel  Colman.  Gilbert  Burling  was  elected  Sec- 
retary, and  James  D.  Smillie,  Treasurer.  The  initial  exhibition 
took  place  in  the  National  Academy  in  December,  1867;  For 
six  years  the  Society  exhibited  in  the  annual  winter  meetings  of 
the  National  Academy,  and  under  the  control  of  that  institution. 
In  1874  it  had  gained  so  .much  in  strength  and  confidence  that 
it  opened  its  seventh  exhibition  under  its  own  management, 
and  since  then  its  annual  displays  in  the  month  of  February 
have  been  among  the  most  important  art  features  of  each  season 
in  New  York.  Its  success  has  been  marked.  In  1884  it  num- 
bered sixty-seven  active  members,  and  twenty-eight  non-resident 
members ;  it  had  a  fund  of  several  thousand  dollars,  and  it  has 
done  very  much  for  the  advancement  of  water-color  art  and  the 
encouragement  of  a  taste  for  works  in  that  medium  in  America. 
Early  in  its  career  it  was  glad  to  receive  the  works  of  foreign 
artists  to  fill  up  its  walls;  now  several  hundred  drawings  by 
native  painters  are  of  necessity  refused,  because  of  want  of  space 
each  year,  and  only  such  foreign  examples  are  received  as  will 
prove  valuable  to  art  students.  In  1877  it  adopted  a  new  constitu- 
tion, and  is  now  known  as  the  American  Water-Color  Society. 
In  the  year  1854  Mr.  Peter  Cooper  of  New  York,  in  whose 


xxxii 


INTRODUCTION. 


praise  for  his  munificent  gifts  to  his  native  city  too  much  cannot 
be  said,  laid  the  corner-stone  of  the  Cooper  Instihite,  "to  be 
devoted  forever  to  the  union  of  art  and  science  in  their  appli- 
cation to  the  useful  purposes  of  life."  This  building,  at  the 
junction  of  Third  and  Fourth  Avenues,  was  completed  in  1857, 
at  a  cost  of  $  630,000,  and  transferred  by  Mr.  Cooper  to  a  Board 
of  Trustees,  under  whose  direction  it  has  since  been,  and  who  in 
a  period  of  nineteen  years  have  expended  $733,000  in  giving 
free  instruction  to  the  public.  The  income  of  the  institution 
has  been  derived  from  the  rents  of  the  large  building  and  from 
the  interest  of  a  special  endowment  by  Mr.  Cooper  of  $  150,000, 
to  be  devoted  particularly  to  the  formation  and  support  of  a 
Free  Library  and  Eeading-Eoom.  Over  two  thousand  young  men 
and  women  are  annually  educated  here.  In  the  Art  Department 
there  are  several  branches  under  competent  instructors,  including 
mechanical,  architectural,  perspective,  cast,  and  form  drawing. 
In  the  evening  schools  women  are  admitted  to  the  lectures  and  the 
scientific  classes,  but  not  to  the  art  classes,  a  special  Art  Depart- 
ment being  provided  for  them  during  the  day,  which  forms  a 
very  important  feature  of  the  educational  history  of  the  Cooper 
Institute.  There  are  free-hand  drawing-classes  and  classes  in 
photography,  painting,  and  modeling ;  besides  classes  in  engrav- 
ing and  drawing  on  wood,  which  make  a  distinct  department. 
In  the  Normal  Classes  of  these  schools  fully  one  third  of  the 
graduates  are  employed  as  teachers,  and  here  particular  atten- 
tion is  paid  to  industrial  design.  Many  of  the  students  in  each 
class  are  engaged  upon  work  for  the  Decorative  Art  Society, 
with  profitable  results  to  themselves.  The  rules  of  admission  to 
these  schools  are  very  simple.  No  pupil  is  received  under  the 
age  of  fifteen  years,  but  only  a  fair  knowledge  of  the  rudiments 
of  reading,  writing,  and  arithmetic,  and  certificates  of  good  con- 
duct are  demanded.  If  talent  for  high  art  is  shown  students 
are  recommended  to  the  other  schools  of  New  York  which  are 
designed  particularly  for  the  instruction  of  professional  artists, 
and  not  a  few  of  the  prominent  painters  of  America  to-day  are 
indebted  to  the  schools  of  the  Cooper  Institute  for  early  devel- 
opment of  latent  power,  and  kindly  encouragement  to  become 
what  they  now  are.  It  is,  however,  as  an  academy  for  the 
industrial  arts  that  this  institution  is  particularly  adapted  and 
intended,  and  as  such  it  ranks  deservedly  high.  To  the  indus- 
trious youth  of  New  York  who  are  desirous  of  self-improvement 


INTRODUCTION. 


xxxiii 


it  has  been  a  great  boon  for  twenty  years ;  to  its  beneficent 
founder  and  originator  it  will  ever  remain  a  glorious  monument. 

The  Pennsylvania  Academy  of  the  Fine  Arts,  an  association  of 
seventy  of  the  leading  citizens  of  Philadelphia  (forty-one  of 
whom  were  lawyers),  was  formed  in  that  city  in  1805,  and  incor- 
porated the  following  year.  Its  object,  as  stated  in  its  constitu- 
tion, was  "  to  promote  the  cultivation  of  the  Fine  Arts  in  the 
United  States  of  America,  by  introducing  correct  and  elegant 
copies  of  the  works  of  the  first  masters  in  sculpture  and  painting ; 
by  the  establishment  of  a  gallery  or  galleries  of  painting  and 
sculpture,  of  a  library,  and  of  schools  of  design ;  and  by  such 
other  methods  of  instruction,  general  and  particular,  as  best 
seemed  proper  to  the  committee,  for  the  promotion  and  enjoy- 
ment  of  the  Fine  Arts  in  the  city  of  Philadelphia."  The  first 
meetings  of  the  association  were  held  in  the  house  of  Joseph 
Hopkinson,  afterwards  its  President.  It  subsequently  purchased 
a  lot  of  ground,  and  erected  a  building  for  the  preservation  and 
exhibition  of  its  works  of  art.  This  was  opened  in  1807,  and 
contained  some  fifty  casts  from  the  antique,  selected  by  Nicholas 
Biddle,  then  Secretary  of  the  Legation  in  Paris,  and  a  few  paint- 
ings by  West  and  other  prominent  artists.  The  regular  annual 
exhibitions  of  the  Academy  did  not  commence  until  1811.  In 
1845  the  building,  with  its  permanent  collection  of  works  of  art, 
at  that  time  of  much  value,  was  destroyed  by  fire.  The  gener- 
osity of  the  people  of  Philadelphia,  after  this  disaster,  was  so 
great  that  the  new  collection  quickly  surpassed  the  old.  It 
now  includes  (1878)  three  hundred  and  forty-eight  pieces  of 
sculpture  (forty-five  in  marble),  one  hundred  and  ninety-five 
paintings,  and  over  six  thousand  engravings  of  all  periods  and 
schools,  beside  many  drawings,  photographs,  and  a  finely  selected 
art  library.  The  greater  part  of  the  collection  of  engravings  was 
bequeathed  by  John  S.  Phillips  in  1876.  The  present  building, 
with  the  ground  upon  which  it  stands,  cost  about  half  a  million 
of  dollars.  It  has  two  stories,  the  upper  devoted  to  galleries,  the 
lower  to  schools,  offices,  etc.,  and  it  was  opened  in  the  spring  of 
1876.  The  Academy  is  governed  by  a  Board  of  Directors  chosen 
to  represent  its  stockholders.  In  the  present  board  there  are  no 
professional  artists.  On  its  first  board  in  1805  there  were  but 
two,  Charles  Wilson  Peale  and  William  Rush.  These  artists  had 
previously  made  an  effort  in  1791  and  again  in  1794  to  establish 
an  art  academy  in  Philadelphia,  but  without  success.    In  1810, 


xxxiv 


INTRODUCTION. 


with  other  active  members  of  the  Academy,  they  organized  the 
Society  of  Artists  of  the  United  States,  incorporated  in  1813 
as  the  Columbian  Society  of  Artists.  Sully  was  the  first  Sec- 
retary of  this  organization.  It  exhibited  in  the  Academy,  and 
used  the  Academy  building  for  its  schools,  but  it  was  never  in 
perfect  harmony  with  the  older  society,  and  it  went  out  of  exist- 
ence in  1817.  The  most  important  of  its  successors  was  the 
Artists'  Fund  Society,  still  existing,  but  not  in  active  opera- 
tion. 

The  first  record  of  any  school  in  connection  with  the  Penn- 
sylvania Academy  of  the  Fine  Arts  is  found  on  its  minutes, 
bearing  date  October  8,  1807,  as  follows  :  "  Until  the  funds  of 
the  institution  will  admit  of  opening  a  school  on  a  more  extended 
plan,  persons  of  good  character  shall  be  permitted  to  make  draw- 
ings from  the  statues  and  busts  belonging  to  the  Academy." 
From  this  humble  beginning,  after  many  vicissitudes,  it  has  now 
reached  a  condition  encouraging  and  successful.  It  has  (1878-79) 
two  hundred  and  thirty-nine  pupils,  one  hundred  and  twelve  in 
the  Antique,  one  hundred  and  twenty-seven  in  the  Life  classes. 
Of  these  about  one  third  are  women.  The  Academy  states  that 
it  does  not  undertake  to  furnish  detailed  instruction,  but  rather 
facilities  for  study  supplemented  by  the  occasional  criticism  of  the 
teachers.  Its  classes  are  intended  especially  for  those  who  pro- 
pose to  become  professional  artists. 

The  Philadelphia,  Sketch  Club  is  the  natural  offshoot  of  several 
institutions  of  a  similar  kind,  organized  by  different  generations 
of  Philadelphia  artists.  It  was  founded  in  1860.  In  the  winter 
of  1865-66  it  gave  a  successful  exhibition  of  works  of  art  in  the 
Academy  of  Fine  Arts.  In  1873,  in  the  absence  of  any  regular 
classes  of  the  Academy,  the  Sketch  Club  formed  schools  for  study 
from  the  living  model,  open  to  members  and  non-members  upon 
the  payment  of  a  small  fee.  They  also  gave  lessons  in  anatomy, 
and  secured  the  services  of  Thomas  Eakins,  who  gave  gratuitous 
instruction  until  the  completion  of  the  present  Academy  building 
in  1876,  when  the  Sketch  Club  classes  were  discontinued.  As  a 
club,  however,  it  still  exists  in  a  flourishing  condition,  has  com- 
fortable rooms  on  North  Penn  Square,  gives  occasional  entertain- 
ments to  distinguished  artists,  and  has  a  full  roll  of  membership, 
including  amateurs  as  well  as  professional  artists. 

The  Philadelphia  School  of  Design  for  Women  was  established 
in  1853,  "for  the  systematic  training  of  young  women  in  the 


INTRODUCTION. 


XXXV 


practice  of  art,  and  knowledge  of  its  scientific  principles,  with  a 
view  of  qualifying  them  to  impart  to  others  a  careful  art  edu- 
cation." The  course  of  instruction  varies  from  two  and  a  half  to 
four  and  a  half  years,  according  to  the  talent  and  industry  of  the 
pupil,  and  it  includes  drawing  from  casts,  painting  in  oil  and 
water  colors,  designs  for  printing  wall-paper,  etc.,  besides  engrav- 
ing and  lithography.  The  course  of  instruction  is  similar  to  that 
of  the  English  schools. 

At  the  close  of  the  Centennial  Exposition  in  Philadelphia  in 
the  autumn  of  1876,  Memorial  Hall,  one  of  the  finest  and  most 
important  of  the  Exhibition  buildings,  was  made  a  permanent 
museum  of  industrial  art,  similar  in  aim  to  that  of  South  Ken- 
sington. In  1877  the  trustees  of  this  institution,  feeling  the 
growing  necessity  for  some  comprehensive  system  of  industrial 
art  education,  resolved  to  establish  permanent  schools  for  draw- 
ing and  modeling  in  their  industrial  application,  opening  these 
schools  on  North  Broad  street  on  account  of  the  distance  of  the 
museum  proper  from  the  center  of  the  city.  Although  still  com- 
paratively in  their  infancy,  they  bid  fair  to  supply  a  great  want 
existing  heretofore. 

The  Boston  Art  Club  was  organized  in  the  month  of  January, 
1855,  by  twenty  gentlemen,  among  whom  were  Joseph  Ames,  its 
first  President,  Alfred  Ordway,  its  first  Secretary,  Moses  Wight, 
Samuel  L.  Gerry,  and  Walter  M.  and  Edward  A.  Brackett. 
The  idea  of  its  establishment  originated  with  Mr.  Ordway,  and 
to  the  untiring  efforts  of  that  gentleman  much  of  its  subsequent 
success  is  due.  For  the  first  fifteen  years  of  its  existence  the 
Club  had  no  local  habitation ;  its  meetings  were  held  in  the 
6tudios  of  different  members,  and  during  the  Civil  War,  from  1862 
to  1866,  its  meetings  were  entirely  suspended.  In  1870  a  large 
house  on  Boylston  street  was  leased,  a  gallery  built,  and  its  pros- 
perity assured.  In  1882  the  Club  relinquished  these  quarters 
and  moved  to  its  new  building  on  the  corner  of  Dartmouth 
and  Newbury  streets,  erected  from  the  designs  of  William  R. 
Emerson.  There  is  now  a  school  of  drawing  connected  with 
the  Club.  In  1884  the  membership  of  the  Club  was  eight  hun- 
dred and  seventy-six,  one  hundred  and  twenty-six  of  these  being 
artists.  Two  exhibitions  are  held  in  each  year,  to  which  there 
is  no  admission  fee ;  original  works  are  contributed  by  the  mem- 
bers as  well  as  by  other  artists,  and  many  superior  specimens  of 
statuary,  painting,  and  drawing  of  foreign  schools  are  frequently 
loaned  by  art  collectors  of  Boston  and  other  cities.    Besides  these 


xxxvi 


INTRODUCTION. 


regular  exhibitions  monthly  informal  meetings  are  held  during 
the  autumn  and  winter,  when  sketches,  etchings,  engravings,  etc. 
are  displayed,  brought  together  for  the  occasion  by  the  members 
for  mutual  benefit  and  examination,  and  occasional  lectures  are 
given.  It  is  the  most  important  institution  of  its  kind  in  New 
England. 

In  1850  the  Trustees  of  the  Lowell  Institute  of  Boston  estab- 
lished a  free  school  of  drawing,  frequently  mentioned  in  this 
book,  which  was  placed  under  the  direction  of  George  Hollings- 
worth,  and  remained  in  active  operation  until  1878,  when  it  was 
discontinued. 

The  attention  of  the  Legislature  of  the  State  of  Massachu- 
setts was  turned  particularly  towards  the  subject  of  art  edu- 
cation in  1870.  Drawing  was  made  a  compulsory  study  for 
pupils  of  all  grades  in  the  public  schools,  and  a  law  was  passed 
requiring  the  establishment  of  at  least  one  free  evening  drawing 
school  for  adults  in  every  town  of  ten  thousand  inhabitants. 
In  1873  the  Massachusetts  Normal  Art  School  was  organized  for 
the  training  of  art  teachers  of  both  sexes.  It  was  modeled  upon 
the  Training-Schools  of  South  Kensington,  and  occupies  a  posi- 
tion in  relation  to  the  common  schools  of  Massachusetts  similar 
to  that  of  the  South  Kensington  School  to  the  educational  insti- 
tutions of  Great  Britain.  The  regular  course  is  of  four  years. 
The  first  is  devoted  to  drawing ;  the  second  to  form,  color,  and 
industrial  design ;  the  third  to  the  constructive  arts ;  and  the 
fourth  to  sculpture.  The  standard  is  high,  the  system  thorough, 
and  the  examinations  very  severe.  The  applicants  for  admission 
to  this  school  must  be  more  than  commonly  proficient  in  draw- 
ing before  they  are  received  as  pupils  at  all.  Professor  Walter 
Smith,  the  State  Superintendent  of  Art  Instruction  in  Massachu- 
setts, is  its  principal,  and  under  his  direction  it  has  been  very 
successful. 

The  School  of  Drawing  and  Painting  connected  with  the 
Boston  Museum  of  Fine  Arts  was  organized  in  the  autumn  of 
1876.  It  receives  pupils  of  both  sexes.  The  admission  fee  is 
ten  dollars,  with  a  monthly  fee  of  the  same  amount.  Professional 
artists,  however,  working  and  studying  in  this  school,  are  charged 
but  five  dollars  a  month.  A  certain  number  of  free  scholarships 
have  been  established,  which  are  assigned,  on  special  examination, 
to  students  who  are  in  need  of  such  assistance.  The  students 
are  exercised  in  drawing  and  painting  from  the  living  model  and 


INTRODUCTION. 


xxxvii 


from  still-life,  are  permitted  to  copy  the  pictures  in  the  galleries 
of  the  Museum,  and  to  make  original  sketches  of  the  galleries 
and  the  Objects  they  contain.  The  school  has  a  large  number  of 
pupils ;  it  has  met  with  encouraging  success,  and  is  performing 
the  work  of  a  well-established  academy. 

The  School  of  Carving  and  Modeling  for  Women  in  Boston 
was  established  in  1877  by  the  Woman's  Education  Association 
of  that  city.  The  course  of  instruction  includes  modeling  in 
clay,  casting  in  plaster,  and  carving  in  wood.  Some  of  the 
pupils  have  worked  directly  from  natural  objects,  and  a  number 
of  sketches  of  fruits  and  flowers  have  been  made  from  memory. 
Tiles  have  been  modeled  from  time  to  time  in  terra-cotta  clay  from 
the  original  designs  of  the  pupils,  etc.  The  school  has  received 
some  aid  from  the  city  of  Boston  and  from  other  sources,  and  is 
partially  self-supporting. 

The  first  regular  exhibition  of  works  of  art  held  in  Buffalo, 
1ST.  Y.,  was  opened  in  the  winter  of  1861  under  the  auspices 
of  the  Young  Men's  Christian  Association,  and  was  so  popular 
and  so  successful  that  it  led  to  the  establishment  the  next  year 
of  a  permanent  art-gallery  in  that  city.  Through  the  efforts  of 
Thomas  LeClear,  William  H.  Beard,  and  L.  G.  Sellstedt,  assisted 
by  many  non-professional  gentlemen  of  wealth,  the  Buffalo  Fine 
Art  Academy  was  organized  and  chartered,  to  promote  and  culti- 
vate the  line  Arts  and  establish  and  maintain  an  exhibition  and 
collection  of  paintings  and  sculpture.  The  Academy  has  purchased 
from  time  to  time  some  valuable  works  of  art,  and  tine  paintings 
have  been  given  to  it  by  eminent  American  artists.  Mr.  Sell- 
stedt has  been  corresponding  secretary  and  superintendent  of  the 
institution  since  its  organization,  except  during  the  years  1876 
and  1877,  when  he  was  its  President. 

The  Brooklyn  Art  Association  was  instituted  in  1861  and 
incorporated  in  1864.  Its  object  is  the  encouragement  and  pro- 
motion of  art  by  a  reunion  of  its  members ;  by  providing  for  the 
exhibition  of  painting,  statuary,  and  other  works  of  art ;  by  the 
holding  of  annual  exhibitions,  and  by  the  establishment  of  a  per- 
manent gallery.  Since  its  organization  it  has  given  semi-annual 
exhibitions,  with  free  admission  to  the  public,  at  which  have 
been  seen  over  ten  thousand  original  works  of  art ;  it  has  aided 
in  the  sale  of  many  pictures,  and  has  erected  an  admirably  planned 
building  for  the  galleries  and  schools.  In  1864,  in  aid  of  the 
United  States  Sanitary  Commission,  it  exhibited  a  collection  of 


xxxviii 


INTRODUCTION. 


engravings,  the  first  of  its  kind  which  ever  took  place  upon  the 
American  continent,  and  which  attracted  great  attention.  In 
the  spring  of  1872  it  exhibited  a  collection  of  works  representing 
American  art,  arranged  chronologically  as  far  as  was  practicable, 
from  1715  to  1872,  to  which  the  public  and  private  galleries  of 
Boston,  New  York,  Philadelphia,  Yale  College,  etc.,  contributed. 
The  result  proved  that  there  was  in  the  United  States  a  wealth 
of  native  art  which  few  people  believed  to  have  existed.  The 
educational  department  of  this  association  is  under  the  direction 
of  excellent  professors. 

The  San  Francisco  Art  Association  was  organized  in  the 
spring  of  1871,  "for  the  promotion  of  painting,  sculpture,  and 
the  Tine  Arts  akin  thereto,  the  diffusion  of  a  cultivated  taste 
for  art  in  the  community  at  large,  and  the  establishment  of  an 
Academy  or  School  of  Design."  The  association  is  composed  of 
professional  artists  and  persons  who  are  interested  in  the  progress 
of  art.  It  has  a  full  list  of  active  members,  and  a  number  of 
life  members,  made  such  upon  the  payment  of  a  subscription  of 
one  hundred  dollars.  The  society  has  a  good  library  of  books 
upon  art  topics ;  and  a  fine  collection  of  casts  from  the  Greek  and 
other  ancient  art,  presented  by  the  French  government  through 
Count  de  Eemusat,  who  was  Secretary  of  Foreign  Affairs  under  the 
Presidency  of  Thiers.  They  were  executed  by  direction  of  Jules 
Simon  in  the  studios  of  the  Louvre,  and  include  eight  life-size 
statues,  twenty  basso-rilievos  from  the  frieze  of  the  Parthenon, 
twenty-six  busts,  and  one  statuette.  Besides  these  there  are  some 
sixty  or  more  pieces  purchased  by  the  Association.  The  Schools 
of  Design  located  on  Pine  street  are  now  (1878)  in  their  fifth 
year.  There  are  classes  in  crayon-drawing  and  oil-painting, 
and  special  portrait,  sketch,  and  landscape  classes.  The  fees 
of  tuition  are  small,  and  within  the  means  of  every  student. 
Gold  and  silver  medals  and  diplomas  are  annually  awarded,  and 
pupils  preparing  themselves  to  become  art  teachers  are  furnished 
with  satisfactory  certificates  by  the  director  when  he  feels  that 
they  are  qualified  for  the  positions  they  desire  to  fill.  The  San 
Francisco  Art  Association  holds  annual  exhibitions  for  the  dis- 
play of  works  of  art,  and  occasional  receptions. 

The  Washington  Art  Club  was  established  in  the  winter  of 
1875.  Its  objects  are  to  promote  acquaintance  and  good-fellow- 
ship among  artists,  to  encourage  exertion  and  hard  study,  to 
exhibit  the  results,  and  to  create  an  active  interest  in  the  artists 


INTRODUCTION. 


xxxix 


and  their  works  among  the  people  of  Washington,  by  inducing 
them  to  become  Associate  Members,  and  by  offering  them  annual 
gifts  from  the  contributed  works  of  the  active  members,  or  such 
other  works  of  art  as  may  belong  to  the  club.  Several  valuable 
courses  of  lectures  on  art  subjects  have  been  delivered  before  the 
club,  and  an  effort  is  being  made  for  the  formation  of  a  free 
art  school  in  Washington  in  connection  with  the  Corcoran  Gal- 
lery there.  It  is  also  the  purpose  of  this  society  to  labor  for  the 
establishment,  by  the  Congress  of  the  United  States,  of  a  "Bureau 
of  Industrial  and  Fine  Arts,"  and  the  appointment  of  a  com- 
mittee to  be  called  "  The  Committee  on  Fine  Arts,"  whose  duty 
it  shall  be  to  decide  upon  the  merits  of  all  works  of  art  offered 
to  the  government  for  purchase. 

The  School  of  Art  connected  with  Yale  College  at  New 
Haven,  Ct.,  was  founded  in  1864  by  A.  R.  Street.  Its  objects 
are  the  education  of  practical  artists,  and  the  furnishing  of  a 
liberal  education,  with  a  knowledge  of  the  practice,  principles, 
and  history  of  art.  Pupils  are  received  for  periods  ranging  from 
one  to  four  years,  according  to  their  ability.  Lectures  are  given 
in  regular  courses  by  competent  instructors.  It  has  a  fine  Art 
Building,  erected  at  a  cost  of  two  hundred  thousand  dollars,  in 
which  are  extensive  picture-galleries,  containing,  among  other 
art  treasures,  many  works  of  the  Italian  school  dating  from  the 
earliest  masters  to  the  sixteenth  century,  collected  in  Europe  by 
J.  J.  Jarves.  The  Art  Faculty  of  Yale  College,  by  pursuing  the 
best  European  methods  in  their  school,  have  proposed  to  make, 
if  possible,  an  art  standard  higher  and  more  effective  than  any 
other  yet  attempted  in  the  United  States,  and  to  remove  in  great 
'  measure  the  necessity  of  foreign  instruction  to  American  artists. 
Among  other  American  academies,  societies,  and  schools  of 
art  and  design,  of  more  or  less  importance,  may  be  mentioned 
the  Art  Clubs  of  Chicago,  Pittsburg,  Utica,  and  St.  Louis,  the 
St  Louis  Academy  of  Fine  Arts,  the  School  of  Design  of  the 
University  of  Cincinnati,  Free  Institute  of  Worcester,  Mass., 
Ladies'  Art  Association  of  New  York,  Massachusetts  Free  Insti- 
tute of  Technology,  Decorative  Art  Society,  etc.,  of  which  want 
of  space  prevents  our  giving  any  complete  history  here. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Abbey,  Edwin  A.  (Am.)  Born  at  Philadelphia,  1852.  Pupil 
of  the  Philadelphia  Academy  of  Fine  Arts.  In  1871  he  was  em- 
ployed by  Harper  &  Brothers,  and  since  that  time  he  has  almost 
exclusively  devoted  himself  to  drawing  for  illustrated  publications. 
He  has  designed  for  the  Appletons,  Houghton.  Osgood  &  Co.,  and 
Scribner,  as  well  as  for  the  Harpers.  His  professional  life  has  been 
spent  in  New  York.  He  was  elected  a  member  of  the  Water-Color 
Society  in  1876,  of  the  New  York  Etching  Club  in  1877,  and  of  the 
Tile  Club  in  1878.  Among  his  water-color  pictures  are,  "The  Stage 
Office  "  (1876),  "  The  Evil  Eye  "  (1877),  "  Lady  in  a  Garden,"  belong- 
ing to  J.  W.  Harper,  and  "  A  Rose  in  October,"  belonging  to  John  P. 
Townsend.  His  "  Stage  Office,"  the  property  of  R.  G.  Dun,  was  at 
the  Paris  Exposition  of  1878. 

Abel  de  Pujol,  Alexandre  Denis.  (Fr.)  Son  of  the  Baron  de 
la  Grave  et  de  Pujol.  Born  at  Valenciennes  (1785  - 1861).  Mem- 
ber of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  at  the 
Academy  of  Valenciennes,  of  the  Ecole  des  Beaux- Arts  at  Paris,  and 
of  David.  He  gained  the  grand  prix  de  Borne  in  1811.  Among  his 
works  are  the  "  Death  of  Britannicus "  (1814),  at  the  Museum  of 
Dijon  ;  "  St.  Stephen  preaching  the  Gospel "  (1817),  at  the  church 
of  Saint-]5tienne-du-Mont  ;'  "  Joseph  explaining  the  Visions  "  (1822), 
at  Lille  ;  "  Baptism  of  Clovis"  (1824),  at  the  Cathedral  of  Rheims  ; 
"Raising  of  Tabitha"  (1827),  at  the  church  of  St.  Peter  at  Douai. 
This  artist  executed  many  decorative  works  at  the  Museum  of  the 
Louvre,  the  palace  of  Fontainebleau,  the  convent  of  the  Sacre-Coeur, 
etc.  He  also  painted  some  portraits.  He  was  the  first  master  of 
Decamps. 

"  To  our  mind,  the  talent  of  Abel  de  Pujol  was  ill  enough  at  ease  in  subjects  drawn 
from  Christian  legends.  The  cold  imitation  of  Greek  statues,  the  stiffness  of  the  style 
of  David,  harmonized  badly  with  the  tender  griefs  and  almost  sickly  Catholic  sentiment. 
When  Christ  is  copied  from  the  Pythian  Apollo,  when  the  Apostles  borrow  their  attitudes 
from  Antinous  and  Achilles,  we  no  more  recognize  the  Christ,  we  no  longer  believe  the 
miracles  of  the  Apostles.  This  fault,  moreover,  was  not  individual  with  Abel  de  Pujol ; 
it  was  the  error  of  all  the  Academic  School,  and  David  well  understood  in  this  particular 
the  insufficiency  of  his  doctrine,  when,  more  prudent  than  his  pupils,  he  abstained  from 
treating  saintly  subjects."  —  Alfred  Herve,  Gazette  des  Beaux- Arts,  November,  1861. 
1  A 


2 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Absolon,  John.  (Brit.)  Born,  1815.  Studied  in  the  British 
Museum.  Painted  miniature  portraits  in  London  for  some  time 
with  moderate  success.  Studied  a  year  in  Paris,  and  turned  his  at- 
tention to  water-colors  about  1836,  joining  the  New  Water-Color 
Society  and  remaining  an  active  member  of  that  institution  for 
twenty  years.  In  1839  he  exhibited  "  The  Savoyard  Boy  "  and  "  The 
First  Sup,"  sending  to  the  British  Institution  the  same  year  "  The 
Painter's  Studio,"  in  oil.  His  "  Vicar  of  Wakefield,"  painted  in  1842, 
first  attracted  to  him  the  attention  of  the  public  and  the  critics. 
Among  his  works  executed  about  this  time  may  be  mentioned,  "  Joan 
of  Arc,"  "  The  Field  of  the  Cloth  of  Gold,"  «  The  First  Night  in  a 
Convent,"  "  Captain  Macheath  betrayed  by  his  Mistress,"  "  Threading 
the  Needle,"  etc.  Among  his  later  works  are,  "  The  Tete-a-Tete," 
"  The  Courtship  of  Miles  Standish,"  "The  Courtship  of  Gainsborough," 
"The  Match,  Lago  Maggiore."  After  a  secession  of  a  few  years 
(during  which  he  exhibited  at  the  British  Institution  and  Royal 
Academy),  in  1861  he  again  became  a  member  of  the  Institute  of 
Painters  in  Water-Colors,  and  was  treasurer  for  some  seasons,  con- 
tributing "Home,"  "The  Missal,"  "Facing  the  Storm,"  "  A  Waif," 
"Eeady  for  the  Ball,  1815,"  "Rescue  of  St.  Arthur  and  Miss  War- 
dour,"  "  After  a  Walk  to  Islington,"  etc.  His  "  Judgment  of  Midas," 
an  early  work,  belongs  to  the  Baroness  Burdett-Coutts.  A  picture 
of  his,  in  water-color,  "  The  Beacon,"  was  at  Philadelphia  in  1876. 

Achard,  Alexis  Jean.  (Fr.)  Born  at  Voreppe  (Isere),  1807. 
Medals  at  Paris  in  1844,  '45,  '48,  and  '55.  Landscape-painter. 
Made  his  debut  at  the  Salon  of  1839.  Has  traveled  in  Egypt,  and 
sometimes  paints  Eastern  scenes.  His  "  Autumn  Effects  in  the 
Valley  of  the  Isere"  (1853)  was  bought  by  the  State,  and  the  "  Cas- 
cade in  the  Ravine  of  Cernay-la-Ville "  (1866)  is  in  the  Gallery  of 
the  Luxembourg.    [Died,  1884.] 

Achenbach,  Andreas.  (Ger.)  Born  at  Hesse  Cassel,  1815. 
Knight  of  the  Order  of  Leopold.  Member  of  the  Academies  of  Ber- 
lin, Amsterdam,  and  Antwerp.  Chevalier  of  the  Legion  of  Honor. 
Medals  of  Prussia  and  Belgium  ;  also  at  Philadelphia.  Pupil  of 
Schirmer  at  the  Academy  of  Diisseldorf.  A  picture  of  the  "  Acad- 
emy of  Diisseldorf,"  which  has  often  been  exhibited,  established 
his  reputation  as  an  architectural  landscape-painter.  After  1832 
he  traveled  much  by  sea  and  land,  and  his  pictures  reproduce  the 
most  varied  aspects  of  nature.  The  wild  seas  of  the  North,  the  val- 
leys and  mountains  of  Bavaria  and  the  Tyrol,  the  classic  Campagna, 
and  the  coasts  of  Capri  and  Sicily,  have  all  been  pictured  by  him. 
Some  of  his  best  works  are  in  the  Munich  Pinakothek  ;  and  they  are 
seen  in  most  German  galleries.  At  Philadelphia  he  exhibited  the 
"  Storm  at  Vlissingen."  At  the  exhibition  of  the  Royal  Academy 
at  Berlin,  1876,  he  exposed  "  Heldesheim,"  "  Fish  at  Ostend,"  and 
"  Storm  and  Flood  on  the  Lower  Rhine  in  1876."    At  the  Johnston 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


3 


sale,  New  York,  1876,  "  Sunset —Seashore,"  from  the  collection  of 
Wm.  P.  Wright  (16  by  23),  sold  for  $1,375  ;  "A  Norway  Torrent" 
(24  by  31),  for  $2,000 ;  and  "  Fishing  Boats  ;  Sunset"  (16  by  23),  for 
#1,025.  At  the  Wolfe  sale,  New  York,  1863,  "Storm  clearing  off; 
Coast  of  Sicily,"  sold  for  $  3,000.  At  the  Strousberg  sale,  Paris,  1874, 
"The  Return  of  the  Fishermen;  Evening,"  sold  for  £236.  Acben- 
bach  has  sometimes  executed  water-color  pictures,  etchings,  and  litho- 
graphs. 

"  To  sum  up  :  the  tendency  of  Achenbach's  genius  is  realistic  in  the  highest  and  best 
sense  of  the  word.  He  explores  Nature  in  her  most  secret  traits,  in  order  to  seize  upon 
what  is  characteristic  in  essence,  form,  and  color.  In  his  manipulation,  as  regards  the 
quality  and  texture  of  various  materials,  he  is  eminently  successful,  discriminating  all 
to  the  exact  point  of  requirement,  yet  without  the  slightest  tendency  to  elaborate  tri- 
fling ;  the  general  effect,  prevailing  over  all  minuteness  and  elegance  of  detail,  being  that 
of  a  bold  and  free  handling."  —  Henry  Ottley. 

Achenbach,  Oswald.  (Ger.)  Born  at  Diisseldorf,  1827.  Cheva- 
lier of  the  Legion  of  Honor.  Brother  and  pupil  of  Andreas  Achen- 
bach. This  painter  devotes  himself  largely  to  Italian  views,  and  his 
manner  may  be  called  classic.  He  prefers  subjects  which  combine 
beauty  of  landscape  with  the  effect  of  movement,  such  as  "  A  Fete  at 
Genazzano"  (Roman  States)  (1865),  now  in  the  Luxembourg  ;  and 
"  Villa  Torlonia,  near  Frascati"  (1866),  in  the  National  Gallery,  Ber- 
lin. At  the  annual  Berlin  Exposition  in  1876  he  exhibited  "  A  View 
of  Vesuvius  ;  Twilight,"  «  Market-Place  in  Amain,"  and  "  The  Fes- 
tival of  Saint  Anna  at  Ischia."  At  the  Strousberg  sale,  Paris,  1874, 
"  Naples  ;  Storm  Effect "  sold  for  £  388.  At  the  Blodgett  sale,  New 
York,  1876,  "  The  Environments  of  Naples"  brought  $  2,100. 

Achtermann,  Guillaume.  (Ger.)  Born  near  Minister,  1799. 
This  sculptor  received  no  instruction  until  he  was  thirty  years  old, 
when  he  studied  with  Rauch.  Schadow  encouraged  him  to  go  to 
Rome.  "  The  Descent  from  the  Cross,"  and  several  other  works  by 
Achtermann,  are  in  the  Cathedral  of  Minister. 

Adam,  Albrecht.  (Ger.)  Born  at  Nordlingen  (1782-1862). 
This  painter  of  battles  accompanied  the  French  army  in  1812.  "  The 
Battle  of  Moscow"  and  "Napoleon  surrounded  by  his  Staff"  are 
among  his  best  pictures.  Napoleon  III.  and  Maximilian  II.  of  Bava- 
ria gave  him  large  commissions.  His  last  picture,  executed  for  the 
latter  sovereign,  represented  an  "  Episode  at  the  Battle  of  Zorndorf," 
where  Frederick  the  Great  commanded  in  person.  His  pictures  are 
historically  truthful,  and  remarkable  for  accuracy  of  detail. 

Adam,  Jean  Victor.  (Fr.)  Born  at  Paris  (1801  - 1866).  Med- 
als in  1824  and  1836.  Pupil  of  Meynier  and  Regnault.  Several 
battle-scenes  by  this  artist  are  in  the  gallery  at  Versailles,  some  of 
which  were  executed  in  part  by  Alaux.  After  1846  he  devoted  him- 
self to  lithography,  in  which  he  produced  "  Views  in  the  Environs  of 
Paris,"  "  Studies  of  Animals,"  "  Designs  for  an  Edition  of  Buffon,"  etc. 


4        ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Adam,  Franz.  (Ger.)  Born,  1815.  Member  of  the  Academies 
of  Munich  and  Vienna.  Chevalier  of  the  Order  of  St.  Michael  of 
Bavaria.  Medals  at  Paris  and  Berlin.  His  "  Eeturn  of  the  French 
from  Russia  "  is  in  the  National  Gallery,  Berlin.  His  pictures  rep- 
resent battles  and  dramatic  subjects.  He  also  painted  equestrian 
portraits.  Several  of  his  works  were  bought  by  the  Emperor  Francis 
Joseph. 

Adam-Salomon,  Anthony-Samuel.  (Fr.)  Born  at  Ferte-sous- 
Jouarre,  1818.  Chevalier  of  the  Legion  of  Honor.  This  sculptor  was 
educated  at  Fontainebleau,  and  was  for  a  time  engaged  in  business. 
About  1838  he  executed  his  "  Beranger,"  which  is  the  most  popular 
likeness  of  that  poet.  After  that  time  he  went  to  Paris  to  study 
sculpture,  and  has  traveled  in  other  countries.  He  has  made  several 
well-known  portrait  busts  ;  those  of  Lamartine  and  Rossini  were  sent 
to  the  United  States  of  America  ;  that  of  Amussat  was  for  l'Academie 
de  Medecine  ;  that  of  Leopold  Robert  for  the  Gallery  of  the  Louvre  ; 
that  of  Marie- Antoinette  for  Madame  de  Rothschild.  His  funereal 
monument  for  Madame  Lamartine  is  much  admired  ;  that  of  the  Due 
de  Padoue  is  at  the  Invalides.  He  made  the  "  Genius  of  Music  "  for 
the  new  Louvre.  Of  late  years  Adam-Salomon  has  devoted  himself 
to  photography.    At  the  Salon  of  1878  this  artist  exhibited  a  bust  in 

marble  of  E.  Chadwick,  and  one  of  Madame  E.  0         in  tinted 

plaster.    [Died,  1881.] 

Adams- Act  on,  John.  (Brit)  Born,  1834.  Pnpil  of  the  Royal 
Academy,  receiving  first  silver  medal  in  the  antique  school  ;  first 
silver  medal  in  the  life  school ;  gold  medal  for  original  composition, 
and  the  Traveling  Studentship.  He  also  received  a  medal  at  the 
Vienna  Exhibition.  His  professional  life  has  been  spent  in  Italy  and 
England,  studying  for  some  years  under  John  Gibson  in  Rome. 
Among  his  statues  are  those  of  Gladstone  at  St.  George's  Hall,  Liver- 
pool ;  of  Sir  Titus  Salt,  at  Bradford  ;  and  of  Eyre  Powell,  at  Madras. 
He  has  executed  busts  of  Sir  Wilfred  Lawson,  John  Bright,  Cobden, 
Lord  Brougham,  Spurgeon,  Dickens,  Cruikshank,  and  many  others, 
for  public  institutions.  The  more  important  of  his  ideal  figures  are 
"  Cupid  and  Psyche,"  "  Lady  of  the  Lake,"  "  Elaine,"  and  "  Ruth  "  ; 
of  his  monumental  works,  John  Wesley,  in  Westminster  Abbey  ;  Sir 
Titus  Salt's  Mausoleum,  "  Angel  of  the  Resurrection "  ;  and  the 
monuments  of  Bishop  Waldegrave  and  of  George  Wood  in  Carlisle 
Cathedral. 

"  Mr.  Adams-Acton's  statue  of  Gladstone  at  St.  George's  Hall  is  certainly  the  most 
pleasing  portrait  of  the  eminent  statesman  and  author  we  remember  to  have  seen,  while 
both  in  design  and  execution  it  is  a  work  exceedingly  creditable  to  the  artist. "  —  Art 
Journal,  August,  1876. 

"'The  Widow's  Cruse '  (R.  A.  1869),  by  Adams-Acton,  shows  much  poetic  feeling 
with  felicitous  artistic  grouping."  —  Art  Journal,  June,  1S77. 

Adan,  Louis  Emile.  (Fr.)  Born  at  Paris.  Medal  in  1875.  Pupil 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


5 


of  Picot,  and  Cabanel.  Exhibited  at  the  Salon  of  1877,  "  The  Dancing 
Lesson,"  and  a  water-color,  "  The  Amateur  "  ;  in  1876,  "  The  Arrival 
at  the  Chateau  "  ;  in  1875,  "  The  Last  Day  of  Sale." 

Afinger,  Bernard.  (Ger.)  Born  at  Nuremberg,  1813.  His  father 
was  a  weaver,  and  intended  the  son  for  a  trade,  but  the  boy  gave  all 
his  leisure  to  drawing,  and  in  early  youth  attracted  attention  by  a 
copy  of  the  Madonna  of  Nuremberg  which  he  made.  He  was  then 
sent  to  Berlin  to  study  the  antique.  He  devoted  himself  to  religious 
subjects,  and  executed  works  for  churches,  following  the  traditions  of 
the  Middle  Ages.  In  1850  he.  executed  a  statue  of  Rachel ;  thus  com- 
menced his  portraits,  which  have  established  his  German  reputation. 
Among  them  are  those  of  Humboldt,  Rauch,  Cornelius,  Kaulbach, 
Ritschl,  Dahlmann,  Kugler,  etc.  One  of  his  largest  works  is  a  monu- 
ment for  the  University  of  Griefswald,  on  which  there  are  four  statues. 
At  times  Afinger  has  returned  to  religious  subjects.  His  "  Madonna 
and  Child  "  is  in  the  Leipsic  Museum.  At  Berlin,  in  1876,  he  ex- 
hibited a  group,  "  Spring  Awakened,"  and  a  portrait  bust  (in  plaster 
models).    [Died,  1883.] 

Agneni,  Eugene.  (Ital.)  Born  at  Sutri,  1819.  A  favorite  pupil 
of  Coghetti.  During  the  revolution  of  1848  this  artist  became  a  soldier, 
and  for  political  reasons  afterwards  exiled  himself,  settling  in  Paris  in 
1853.  He  had  already  executed  several  works  for  churches  in  Rome, 
Sutri,  and  Savona,  in  which  last  place  he  worked  with  his  master  in 
the  church  of  the  Mission.  In  1855  he  sent  to  the  Exposition  six 
sketches  representing  phases  of  human  life,  and  a  picture  of  "  Eve 
terrified  at  the  Sight  of  a  Serpent,  which  recalled  to  her  her  first  Sin." 
In  1857  he  exhibited  at  the  Salon  "  The  Dream  of  an  Exile,"  "Zampieri, 
called  Domenichino,"  and  "  The  Shades  of  the  Great  Florentines." 

Agrasot,  Joaquin.  (Span.)  Born  at  Orihuela.  Pupil  of  l'Ecole 
des  Beaux-Arts  of  Valencia  and  of  Martinez.  Medal  at  Philadel- 
phia, where  he  exhibited  "  The  Two  Friends."  At  Paris,  1877,  "  Gyp- 
sies and  Peasants  at  a  Fair  ;  Spain."  "  A  Wounded  Soldier  "  (1871),  in 
water-color,  by  this  artist,  is  in  the  collection  of  Mr.  Samuel  V.  Wright 
of  New  York. 

Agricola,  Filippo.  (Ital.)  Born  in  Rome  (1795  -  1857).  Mem- 
ber of  various  academies.  In  1812  he  gained  the  first  prize  at  the 
Capitol  for  a  picture  of  "  Marius  contemplating  the  Ruins  of  Car- 
thage," which  is  in  the  Academy  of  St.  Luke,  at  Rome,  where  is  also, 
in  a  position  of  honor,  his  "  Assumption  of  the  Virgin."  It  was  his  last 
work,  and  was  a  commission  from  Gregory  XVI.  Two  other  famous 
pictures  of  his  are  in  Rome,  "  Dante  and  Beatrice  "  and  "  Tasso  and 
Elenora."  His  "  Herodias"  is  in  Russia  ;  "  Pygmalion  "  in  England  ; 
his  "  Christ "  was  painted  for  the  Duchess  of  Devonshire  ;  and  the 
"  Madonna  "  for  Count  Manzoni  of  Forli. 

Ahlborn,  August  Wilhelm  Julius.  (Ger.)  Born  at  Hanover 
(1796  - 1857).    Studied  at  the  Academy,  of  Berlin,  of  which  he  is  now 


6 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


a  member,  and  later,  in  the  studio  of  Wach.  Painter  of  interiors  and 
landscapes.  Traveled  in  Italy.  At  the  National  Gallery  in  Berlin 
are  "A  View  in  the  Hartz  Mountains  "  and  a  "  Florentine  View  taking 
in  San  Miniato."  Ahlborn  has  made  many  portraits,  principally  of 
artists. 

Ainmuller,  Maximilian  Emmanuel.  (Ger.)  Born  at  Munich 
(1807-1870).  Member  of  the  Academy  of  Munich  and  Knight  of 
several  orders.  This  artist  is  celebrated  for  the  restoration  of  glass 
painting  in  Germany.  He  first  studied  architecture  under  Gaertner, 
but  at  the  age  of  nineteen  he  had  made  discoveries  in  the  use  of  colors 
which  entitled  him  to  be  appointed  director  of  the  newly  founded 
school  for  glass  painting.  Here,  with  the  aid  of  Wehrstorfer,  he  per- 
fected his  processes.  The  restoration  of  the  glass  in  the  cathedrals  of 
Batisbon  and  Cologne,  the  church  of  Notre-Dame  de  Bon-Secours,  at 
Munich,  and  many  other  important  works,  are  due  to  the  labors  of 
Ainmuller.  He  went  to  England,  and  made  sketches  of  monuments 
and  the  interiors  of  abbeys  and  churches.  As  a  painter  of  archi- 
tecture he  has  represented  St.  Mark's  at  Venice,  the  Cathedral  of  Ulm, 
the  church  of  St.  ^Itienne  at  Vienna,  etc.  In  the  National  Gallery, 
Berlin,  are  his  "  Poet's  Corner  in  Westminster  Abbey,"  "  A  View  of 
the  Northern  Nave  of  same  Abbey,"  etc.  Ainmuller  was  a  favorite 
with  Louis  I.,  and  received  many  honors  at  his  hands. 

Akers,  Paul.  (Am.)  Born  in  Maine  (1825- 1861).  Proper  name 
Benjamin  Akers  ;  called  "  Paul "  as  a  youth,  by  his  familiars,  because 
of  his  serious  and  religious  characteristics,  and  still  so  known  to  the 
world.  Lived  for  some  time  in  Portland,  Me.,  studying  painting, 
but  finally  turned  his  attention  to  sculpture,  taking  lessons  in  plaster- 
casting,  under  Carew,  in  Boston,  in  1849.  After  making  several  por- 
trait busts  of  decided  promise,  he  went  to  Europe  for  the  first  time, 
studying  for  a  year  (1852)  in  Florence.  He  went  again  to  the  Conti- 
nent in  1854,  remaining  six  years,  working  in  Kome,  Venice,  Switz- 
erland, and  England,  with  one  short  visit  to  the  United  States.  In 
1860  he  returned  to  America,  broken  in  health,  dying  the  next  year. 
Among  the  better  known  of  his  works  are,  "  Benjamin  in  Egypt," 
burned  in  the  Portland  Exchange,  "  Peace,"  "  Una  and  the  Lion," 
"Girl  pressing  Grapes,"  "Isaiah,"  "Schiller's  Diver,"  "Reindeer," 
"  St.  Elizabeth  of  Hungary,"  "  Diana  and  Endymion,"  "  Milton," 
"  The  Lost  Pearl-Diver,"  etc.  Among  his  portrait  busts  are  those  of 
Longfellow,  Tilton,  the  artist  (his  warm  friend),  Samuel  Appleton 
of  Boston,  Prof.  Cleveland,  Edward  Everett,  Gerrit  Smith,  Sam. 
Houston,  and  others. 

He  wrote,  occasionally,  valuable  papers  on  art  subjects  for  several 
leading  periodicals  of  the  country. 

Akers,  Charles.  (Am.)  Bora  in  Maine,  1836.  He  studied 
sculpture,  with  his  brother  "  Paul,"  in  Rome,  in  1857-58.  Among 
his  earlier  works  are  busts  of  Gen.  Neal  Dow  and  Gov.  Washburne,  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Maine.  Medallions  of  C.  E.  Norton,  S.  W.  Kowse,  K.  W.  Emerson, 
Longfellow,  and  O.  W.  Holmes  are  in  the  possession  of  James  Russell 
Lowell,  in  Cambridge,  Mass.  Several  of  them  were  on  exhibition  at 
the  Boston  Athenaeum  in  1867.  He  spent  two  years,  1867-69, 
in  Buffalo,  N.  Y.,  where  he  modeled  portraits  of  many  prominent 
men  in  that  section.  Two  small  rilievos  in  marble,  "  Undine  "  and 
"  Morning,"  executed  about  this  time,  are  in  the  Buffalo  Academy  of 
Fine  Arts.  He  spent  some  years  in  Minnesota,  where  he  executed  a 
bust  of  Bishop  Whipple.  His  bust  of  Lucretia  Mott  was  in  the  Na- 
tional Academy,  New  York,  in  1871.  The  same  year,  on  account  of 
ill-health,  he  was  obliged  to  abandon  sculpture,  and  turned  his  atten- 
tion to  drawing  in  crayon,  in  New  York,  where  his  studio  now  is.  He 
was  for  some  time  a  pupil  of  Rowse.  Among  his  portraits  in  black 
and  white  are  those  of  0.  B.  Frothingham,  of  C.  N.  Wayland,  and  of 
the  young  children  of  John  B.  Scott,  of  New  York. 

Mr.  Akers  has  contributed  several  valuable  articles,  on  art  subjects, 
to  various  American  journals,  the  most  notable  being  "Sculpture  in 
the  United  States,"  in  the  Atlantic  Monthly,  in  1866. 

Albano,  Salvatore.  (Ital)  Born  in  Calabria.  Pupil  of  Angelini 
and  G.  Dupre.  Lives  at  Florence.  Medal  of  the  third  class  at  Paris 
Salon  of  1878,  where  he  exhibited  the  "  Inferno  of  Dante"  (a  marble 
statue)  and  "  Old  Age"  (statue  in  plaster). 

Albert-Lefeuvre,  Louis-Etienne-Marie.  (Fr.)  Born  at  Paris. 
Medals  in  1875  and  '76.  Pupil  of  A.  Dumont  and  Falguiere.  In 
1877  he  exhibited  "  Joan  of  Arc,  as  a  Child  listening  to  the  Celestial 
Voices"  (statue,  marble)  ;  in  1876,  "Youth"  (statue,  plaster). 

Alcott,  May  (Madam  Ernest  Nieriker).  (Am.)  Born  in 
Concord,  Mass.,  1840.  She  studied  in  the  School  of  Design,  Boston, 
in  Krug's  studio,  Paris,  and,  at  different  times,  under  S.  Tuckerman, 
Dr.  Rimmer,  Hunt,  Vautier,  Johnston,  and  Muller,  spending  her  pro- 
fessional life  in  Boston,  London,  and  Paris,  occupying,  since  her  mar- 
riage, a  studio  in  the  last  city.  She  has  made  oil  and  water-color 
copies  of  very  many  of  the  paintings  of  Turner,  which  are  highly 
prized  in  England,  and  are  given  to  the  pupils  of  the  South  Kensing- 
ton schools  to  work  from.  Besides  these,  she  has  made  many  still-life 
studies,  flower  panels,  and  sketches  from  nature;  has  exhibited  in  Amer- 
ica and  Europe,  in  the  Paris  Salon,  Dudley  Gallery,  London,  etc.  By 
her  talents  and  industry  she  has  honestly  earned  her  present  enviable 
reputation.    [Died,  1879.] 

"Miss  May  Alcott,  who  is  still  pursuing  her  art  studies  in  Paris,  had  a  little  picture 
in  the  Salon  the  past  season  which  attracted  much  attention.  In  a  volume  just  pub- 
lished, containing  mention  of  the  most  noteworthy  pictures  in  the  collection,  the  fol- 
lowing reference  to  Miss  Alcott's  picture  occurs :  '  This  pupil  of  M.  Muller  has 
painted  a  beautiful  picture  of  still-life,  and  does  much  honor  to  her  master.  How 
could  it  be  otherwise,  with  talent  so  adaptable  to  all  genres,  to  every  fantaisie  ?  Mile. 
Alcott  is  an  artist  of  much  promise,  and  ought  to  attempt  subjects  of  a  higher  class.'  "•— 
A  London  Journal,  1877. 


8         ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  picture  of  still-life  sent  to  the  coming  Salon  by  Miss  May  Alcott  is  very  highly 
praised,  and  is  one  of  the  two  thousand  accepted  out  of  the  ten  thousand  submitted  for 
competition."  —  Moncure  D.  Conway,  1877. 

"The  number  of  American  ladies  studying  art  in  Paris  steadily  increases,  and 
among  those  now  here  Miss  Alcott  bids  fair  to  take  a  high  rank,—  possessing  energy, 
patience,  and  an  ardent  love  for  her  profession.  Ruskin  admired  her  copies  of  Turner, 
in  London,  and  they  command  a  ready  sale  in  America,  where  she  took,  some  time  ago! 

the  best  collection  of  copies  of  Turner's  various  works  ever  seen  in  that  country."  

Paris  Letter  to  Boston  Paper,  April,  1876. 

Alexander,  Francis.  (Am.)  Born  in  Connecticut,  1800,  In 
1818  he  turned  his  attention  to  art  studies,  beginning  his  career  in  his 
native  state  by  painting  in  water-color  without  instruction.  A  few 
years  later  he  went  to  New  York  and  became  a  pupil  of  Alexander 
Eobertson.  He  worked  a  few  months  in  Providence,  R.  I.,  and 
opened  a  studio  of  his  own  in  Boston,  where  he  was  popular  and 
successful  as  a  portrait-painter.  In  1831  he  went  to  Europe,  settling 
in  Florence,  where  he  still  remains.  He  has  painted  but  little  during 
the  later  years  of  his  life.    [Died,  1880.] 

Alexander,  Miss.  (Am.)  Daughter  of  Francis  Alexander.  Na- 
tive of  Florence,  an  artist  of  some  repute,  excelling  in  pen-and-ink 
drawing,  in  which  manner  she  has  beautifully  illustrated  several 
books.  One  of  these,  containing  an  unpublished  Italian  legend,  was 
much  admired  in  Florence  in  the  winter  of  1877-78,  and  was  pur- 
chased by  a  Boston  lady. 

Aligny,  Claude  Felix  Theodore  Caruelle  D\  (Fr.)  Born  at 
Chaumes  (1798-1871).  Chevalier  of  the  Legion  of  Honor,  Corre- 
spondent of  the  Institute  and  Director  of  l'Ecole  des  Beaux- Arts  at 
Lyons.  Pupil  of  Regnault  and  Watelet.  This  painter's  works  may 
be  termed  historic  landscapes,  and  before  his  death  he  was  almost 
alone  in  France  in  that  department  of  painting.  In  the  Luxem- 
bourg are  "  The  Chase  ;  Setting  Sun  "  (1865),  and  several  etchings  by 
Aligny.  His  "  Tomb  of  Cecilia  Metella  "  (1861)  was  purchased  by  the 
Baroness  James  de  Rothschild  ;  and  his  "  Souvenir  des  roches  Scyro- 
niennes  "  (1861),  by  the  Ministry  of  State.  We  may  also  mention, 
"A  Souvenir  of  the  Campagna  at  Rome,"  and  "  Hylas  and  the 
Nymphs  "  (1867) ;  "  View  on  the  Island  of  Capri"  (1869)  ;  and  draw- 
ings of  the  "Baptism  of  Christ "  and  the  "  Preaching  of  St.  John" 
(also  1869).    The  etchings  of  Aligny  are  much  admired. 

"  The  noblest  sites  of  Greece  and  Italy  have  been  sketched  by  him  with  a  firm,  cor- 
rect, and  sober  hand,  with  a  quality  of  imperious  austerity  and  severe  elegance.  If  the 
Greeks  had  made  landscapes  they  certainly  would  have  made  them  thus.  The  beauti- 
ful blocks  of  marble,  the  green  oaks,  the  olives,  the  rose  laurels,  the  trees  with  shining 
leaves,  all  the  precise  vegetation  of  the  noble  countries  which  are  loved  by  the  sun,  pre- 
serve, under  his  pure  brush,  their  native  grandeur.  ....  It  is  true  that  he  often  carries 
his  system  to  the  extreme,  more  and  more  disdainful  of  reality,  depriving  himself  of  the 
power  of  communication  with  the  public ;  but  these  stern  obstinacies  please  us,  and  we 
love  those  who  sacrifice  success  to  the  integrity  of  their  ideal."  —  Theophile  Gautier, 
Abecedaire  du  Salon  de  1861. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  9 


Allan,  Sir  Wm.,  R.  A.  (Brit.)  Born  in  Edinburgh  (1782- 1850). 
Pupil  of  the  Trustees  Academy  in  Edinburgh  and  of  the  Royal  Acad- 
emy in  London.  Painted  portraits  for  some  time  in  St.  Petersburg, 
and,  returning  to  Scotland,  settled  in  Edinburgh  in  1814.  He  was 
elected  member  of  the  Royal  Academy  in  1835,  President  of  the  Royal 
Scottish  Academy  in  1838,  succeeded  Wilkie  as  "  Limner  to  the  Queen 
for  Scotland  "  in  1841,  and  was  knighted  in  1842.  He  was  master  of 
the  Trustees  Academy  for  many  years  before  his  death,  and  num- 
bered among  his  pupils  some  of  the  most  prominent  of  the  Scottish 
artists  of  the  present  day.  Among  his  works  are,  "  Sir  Walter  Scott 
in  his  Study  at  Abbotsford  "  (engraved  by  Burnet)  ;  "  Exiles  conveyed 
to  Siberia,"  belonging  to  the  Emperor  of  Russia ;  "  The  Circassian 
Captives,"  in  the  collection  of  the  Earl  of  Wemyss  ;  "  Battle  of  Wa- 
terloo," bought  by  the  Duke  of  Wellington  ;  "  John  Knox  admonish- 
ing Mary  Queen  of  Scots,"  etc.  His  "  Arabs  dividing  their  Spoil " 
is  in  the  National  Gallery,  London.  The  "Stirrup  Cup,"  "Black 
Dwarf,"  and  "  Battle  of  Bannockburn  "  (the  work  upon  which  he  was 
engaged  at  the  time  of  his  death)  are  at  the  National  Gallery,  Edin- 
burgh. 

Allen,  James  Baylis.  (Brit.)  Engraver.  Born  at  Birming- 
ham, England  (1803  -  1876).  At  the  age  of  fifteen  he  was  apprenticed 
to  his  brother,  an  engraver  in  his  native  city,  and  attended  the  drawing 
classes  of  Vincent  Barber.  He  went  to  London  in  1824,  and  between 
the  years  1830  and  1845  executed  a  large  number  of  engravings  of  the 
water-color  drawings  of  Turner,  and  of  the  works  of  other  artists.  "  A 
Bal  Masque  in  the  Grand  Opera,  Paris,"  after  Eugene  Lami,  is  one  of 
his  best  known  and  most  successful  plates.  It  has  been  highly  praised 
for  its  minute  detail  and  its  effects  of  gaslight  and  hot  atmosphere. 

Allingham,  Helen  Paterson.  (Brit.)  Born  near  Burton-on- 
Trent,  1848.  She  displayed  a  taste  for  art  at  an  early  age,  studied  at 
the  School  of  Design  at  Birmingham,  and,  going  to  London,  entered  the 
school  of  the  Royal  Academy  in  1867.  In  1868  she  went  to  Italy  on  a 
short  sketching-tour.  Under  the  name  of  Helen  Paterson  she  first  ex- 
hibited at  the  Royal  Academy,  in  1874,  "  Wait  for  Me  "  and  "  The  Milk- 
maid." In  1875  (as  Mrs.  Allingham)  she  was  elected  an  Associate 
of  the  Society  of  Painters  in  Water-Colors,  contributing  to  its  exhibi- 
tion "  Young  Customers,"  followed  by  "  Spring  Day,"  in  1876  ;  "  The 
Old  Men's  Garden,  Chelsea  Hospital,"  in  1877  ;  "The  Robin's  Song" 
and  "The  Bathing  Place,"  in  1878.  Among  her  pictures  contributed 
to  the  Dudley  Gallery  previous  to  1874  may  be  mentioned,  "  The 
Brown  Girl,"  "  Dangerous  Ground,"  "  May,"  etc.  "  The  Young  Cus- 
tomers," in  water-colors,  was  at  Paris  in  1878.  She  has  also  been  very 
successful  as  a  worker  upon  wood,  illustrating  for  the  Graphic,  the 
Cornhill  Magazine,  and  other  journals. 

"  It  happens  curiously  that  the  only  drawing  of  which  the  memory  remains  with  me 
as  a  possession  out  of  the  Old  Water-Color  Exhibition  of  this  year  —  Mrs.  Allingham's 
1* 


10       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


'  Foung  Customers '  —  should  be  not  only  by  an  accomplished  designer  of  wood-cuts,  but 
itself  the  illustration  of  a  popular  story.  The  drawing,  with  whatever  temporary  purpose 
executed,  is  forever  lovely ;  a  thing  which  I  believe  Gainsborough  would  have  given  one 
of  his  own  paintings  for, —  old-fashioned  as  red-tipped  dresses  are,  and  more  precious  than 
rubies."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Allong§,  Angus te.  (Fr.)  Born  at  Paris,  1833.  Pupil  of  Cogniet. 

This  artist  paints  in  oils  and  sketches  in  charcoal,  and  frequently 
exhibits  in  both  manners  at  the  Paris  salons.  His  charcoal  sketches 
are  very  highly  esteemed  and  much  sought  by  connoisseurs.  At  the 
Salon  of  1878  he  exhibited  (in  oils)  two  views  in  Yonne,  and  (in 
charcoal)  "Le  gour  du  moulin  de  Givry"  (Yonne)  ;  in  1877,  "A 
Brook  in  Morvan"  (in  oils),  two  landscapes,  and  (in  charcoal)  "  A  View 
in  Yonne,"  "The  Mill  of  the  Soucy"  (Calvados),  etc.,  his  subjects 
being  always  landscapes,  and  most  frequently  views  with  lakes, 
streams,  or  waterfalls. 

Allston,  Washington,  A.  R.  A.  (Am.)  Born  in  South  Carolina 
(1779-1843).  Graduated  at  Harvard  College,  1800.  Entered -the 
schools  of  the  Royal  Academy  in  London  soon  after.  His  first  work 
of  importance,  "  The  Dead  Man  Revived,"  gained  a  prize  of  two  hun- 
dred guineas  from  the  British  Institute,  and  was  purchased  by  the 
Philadelphia  Academy  of  Fine  Arts.  This  was  followed  by  "  St. 
Peter  liberated  by  the  Angel,"  "  Uriel  and  the  Sun,"  "  Jacob's  Dream," 
and  several  smaller  pictures,  which  are  in  private  galleries  in  England. 
They  were  generally  exhibited  at  the  Royal  Academy  in  London,  of 
which  he  was  an  associate.  In  1818  he  opened  a  studio  in  Boston, 
and  spent  the  remainder  of  his  life  in  his  native  country.  Among  the 
better  known  of  Allston's  works  are,  "  Jeremiah  "  (in  Yale  College) 
and  "  The  Witch  of  Endor  "  ;  "  Miriam,"  owned  by  the  late  David 
Sears  of  Boston  ;  "  Rosalie,"  owned  by  Nathan  Appleton  ;  "  Belshaz- 
zar's  Feast,"  in  the  Boston  Athenaeum  ;  "  Madonna"  ;  "  Spanish  Girl "  ; 
and  "  Spalatro's  Vision  of  the  Bloody  Hand,"  painted  in  Cambridge, 
Mass.,  in  1832,  for  H.  S.  Ball,  of  Charleston,  S.  C,  and  sold  in  the 
collection  of  John  Taylor  Johnston,  in  1876,  for  $3,900.  It  has  been 
made  familiar  and  popular  by  means  of  the  engraving.  It  was  at 
the  Centennial  Exhibition  of  1876,  as  was  also  a  landscape  of  Allston's 
belonging  to  the  estate  of  Mrs.  S.  A.  Eliot ;  "  Rosalie  "  ;  "  Isaac  of 
York  "  (property  of  the  Boston  Athenaeum)  ;  and  "  The  Head  of  a 
Jew." 

In  1831  he  published  "  The  Sylphs  of  the  Season,"  a  poem,  and  a 
little  later,  "  The  Paint  King  "  and  "  The  Two  Painters."  His  romance 
of  "  Monaldi,"  which  followed  these,  attracted  some  attention  in  the 
literary  world,  and  has  been  dramatized. 

Among  Allston's  portraits  are  Benjamin  West,  in  the  Boston  Athe- 
naeum, and  Coleridge,  the  poet,  in  the  National  Portrait  Gallery  of 
England.  His  portrait  of  himself,  painted  at  Rome  in  1805,  sold  at 
the  Johnston  sale,  in  1876,  for  $925. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  11 


"  The  method  of  Allston  was  to  suppress  all  the  coarser  beauties  which  make  up  the 
substance  of  common  pictures.  He  avoided  bright  eyes,  curls  and  contours,  glancing 
lights,  strong  contrasts,  and  colors  too  crude  for  harmony.    He  reduced  his  beauty  to 

elements,  so  that  an  inner  beauty  might  play  through  her  features  No  classic 

contours,  no  languishing  attitudes,  no  asking  for  admiration,  but  a  severe  and  chaste 
restraint,  a  modest  sweetness,  a  slumbering,  intellectual  atmosphere,  a  graceful  self- 
possession,  eyes  so  sincere  and  pure  that  Heaven's  light  shines  through  them,  and,  be- 
yond all,  a  hovering,  spiritual  life  that  makes  each  form  a  presence."  —  Allston's  Heads, 
Atlantic  Monthly,  February,  1865. 

"  With  the  name  of  this  great  painter  [Allston]  painting  reached  its  acme  of  excellence 
among  us.  In  genius,  character,  life,  and  feeling  he  emulated  the  Italian  masters,  par- 
took of  their  spirit,  and  caught  the  mellow  richness  of  their  tints  From  an 

Alpine  landscape  luminous  with  frosty  atmosphere  and  sky-piercing  mountains  to 
moonbeams  nickering  on  a  quiet  stream,  from  grand  scriptural  to  delicate  fancy  figures, 
from  rugged  and  solemn  Jewish  heads  to  the  most  ideal  female  conceptions,  from  'Jere- 
miah '  to  '  Beatrice,'  and  from  '  Miriam '  to  '  Rosalie,'  every  phase  of  mellow  and  trans- 
parent, almost  magnetic  color,  graceful  contours,  deep  expression,  rich  contrast  of 
tints,  the  mature,  satisfying,  versatile  triumph  of  pictorial  art  as  we  have  known  and 
loved  it  in  the  Old  World,  then  and  there  justified  the  name  of  '  American  Titian '  be- 
stowed on  Allston  at  Rome."  — Tuckerman's  Book  of  the  Artists,  1867. 

Alma-Tadema,  Laurenz,  R.  A.  (Dutch-Brit.)  Born  in  West 
Friesland,  Holland,  1836.  Educated  in  the  Gymnasium  of  Leeu war- 
den, where  he  devoted  much  of  his  time  to  the  study  of  Roman  and 
Egyptian  antiquities.  He  entered  the  Academy  of  Fine  Arts,  Ant- 
werp, 1852,  studying  under  Leys.  Went  to  London  in  1870,  where  he 
still  resides.  He  received  in  1864  a  medal  from  the  Paris  Salon,  a 
medal  of  the  second  class  at  the  Universal  Exposition  of  1867,  and  in 
1873  he  was  created  Chevalier  of  the  Order  of  the  Legion  of  Honor  in 
France.  He  exhibited  at  the  Royal  Academy,  London,  in  1870.  "  Un 
Amateur  Romain  "  and  "  Un  Jonglier,"  which  attracted  much  atten- 
tion, his  works  at  that  time  being  new  to  the  English  critics.  He  ex- 
hibited, in  1871,  at  the  Royal  Academy,  "A  Roman  Emperor,  A.  D.  41 " 
(which  was  at  the  Paris  Salon  the  next  year),  and  "  The  Grand  Cham- 
berlain of  his  Majesty  King  Sesostris"  ;  in  1872,  "The  Mummy" 
(which  was  at  Paris  in  1873).  "  The  Siesta,"  "  The  Dinner,"  "  The 
Wine,"  and  "  The  Death  of  the  First-Born  "  were  in  the  Royal  Acadero  v 
in  1873  ;  "  The  Picture  Gallery"  and  "  Joseph  Overseer  of  Pharaoh  *> 
Granaries  "  in  1874  ;  "The  Sculpture  Gallery  "  and  "  Water  Pets  "  in 
1875.  In  1876,  when  he  was  made  an  Associate  of  the  Royal  Academy, 
he  exhibited  "  Cleopatra,"  "  An  Audience  at  Agrippa's,"  and  "  After 
the  Dance  "  ;  in  1877,  "  The  Seasons  "  (four  pictures)  and  "  Between 
Hope  and  Fear";  in  1878,  "A  Sculptor's  Model"  and  "A  Love 
Missile."  To  the  Grosvenor  Gallery,  in  1877,  he  contributed,  "  Sun- 
day Morning,"  "  A  Bath,"  "  Tarquinius  Superbus,"  "  Phidias  showing 
the  Frieze  of  the  Parthenon  to  his  Friends,"  etc.  ;  in  1878,  "  A  Bac- 
chante," "  Hide  and  Seek,"  and  "  Architecture,"  "  Sculpture,"  and 
"  Painting."  He  has  also  exhibited  in  the  Paris  Salon,  sending  to  the 
Paris  Exposition  of  1878  ten  works.  Many  of  his  pictures  have  been 
engraved.    Elected  Royal  Academician  in  1879. 


12      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  brilliancy  of  the  coloring  of  this  picture  ['  Fete  Intime,'  Paris,  1872],  the  spirited 
design,  and  the  charm  which  it  owes  to  archgeological  research,  are  qualities  common  to 
all  of  Alma-Tadema's  pictures,  but  not  less  precious  on  that  account.  The  artist  has 
bestowed  more  pains  than  usual  on  its  execution,  so  that  the  result  is  splendid,  and  solid 
in  a  high  degree.  It  is  one  of  the  most  original  of  modern  works."  —  London  Athenaeum, 
June,  1872. 

"This  ['The  Sculpture  Gallery']  I  suppose  we  must  assume  to  be  the  principal  his- 
torical piece  of  the  year,  a  work  showing  artistic  skill  and  classic  learning,  both  in  high 
degree,  but  both  parallel  in  their  method  of  selection.  The  artistic  skill  has  succeeded 
with  all  its  objects  in  the  degree  of  their  importance.  The  piece  of  silver  plate  is  painted 
best ;  the  statue  of  the  Empress  worse  than  the  griffins,  and  the  living  personages  worse 

than  the  statue  The  execution  is  dexterous,  but  more  with  mechanical  steadiness 

of  practice  than  innate  fineness  of  nerve."  —  Ruskin's  Notes  of  the  Academy,  1875. 

"In  their  technical  qualities  these  pictures,  'The  Vintage  Festival,'  'The  Conva- 
lescent,' and  '  The  Mummy,'  are  no  less  admirable  than  for  their  learning  and  beau- 
tiful conception.  It  may  be  said  advisedly  that  no  pictures  of  the  present  day  exhibit 
more  thorough  excellence  than  those  of  Mr.  Alma-Tadema.  Though  for  the  most  part 
Greek  and  Roman  Antiquity  are  the  sources  from  which  the  inspiration  of  his  art  are 
derived,  Mr.  Tadema's  pictures  as  works  of  art  are  never  sacrificed  to  the  mere  pedantic 
display  of  skill  and  learning. "—  Prof.  Weir's  Official  Report  of  the  Am.  Centennial  Expo- 
sition o/1876. 

"  In  this  picture  ['  An  Audience  at  Agrippa's '],  as  in  all  of  Alma-Tadema's  works, 
one's  attention  is  absolutely  riveted  in  astonishment  at  the  extraordinary  imitative  de- 
tail exhibited  in  the  drawing  of  the  marbles. "  —  Am.  Journal,  August,  1876. 

"TheTadema  school,  with  its  yellow-haired  women  in  impossible  attitudes,  its  flat 
interiors,  and  its  pre-Raphaelite  exaggerations,  encourages  a  flashy  and  artificial  style." 
—  London  Letter  to  N.  Y.  Times,  June  14,  1877. 

"  It  is  unnecessary  to  observe,  perhaps,  that  Mr.  Alma-Tadema  finishes  every  part  of 
his  compositions  in  a  way  to  astonish.  All  manner  of  textures  are  imitated  in  his  pic- 
tures to  a  miracle,  —  metals,  marbles,  silks.  His  faces  may  not  boast  much  expression, 
but  they  are  well  modeled  and  defined  to  perfection. "  —  London  Standard,  May,  1877. 

Alma-Tadema,  Laura.  (Brit.)  An  English  lady,  wife  of  Laurenz 
Alma-Tadema,  painting  in  her  husband's  studio  in  London,  but  not 
in  her  husband's  style.  She  has  exhibited  occasionally  in  London  and 
elsewhere.  Her  "  Blue  Stocking,"  which  was  at  the  Royal  Academy  in 
1877,  was  also  at  the  Paris  Exposition  in  1878.  The  same  year  she 
sent  to  the  Royal  Scottish  Academy  "  DafTadowndillie." 

Alvarez  y  Espino,  Gonzalo.  (Span.)  Medal  at  Philadelphia, 
where  he  exhibited  "  Annual  Fair,  attended  only  by  Men,"  which  was 
commended  for  distinguished  merit.  His  "  Preparations  for  the  First 
Communion  "  belongs  to  Mr.  James  H.  Weeks  of  Boston. 

Amaury -Duval,  Eugene  Emmanuel.  (Fr.)  Born  at  Paris,  1808. 
Officer  of  the  Legion  of  Honor.  Pupil  of  Ingres.  Made  his  debut  at 
the  Salon  of  1833  with  some  portraits  and  designs  which  immediately 
gave  him  a  reputation.  He  has  executed  important  decorative  works 
in  the  churches  of  Paris  and  its  suburbs,  among  them,  the  chapel  of 
Saint  Philomena  at  Saint-Merry,  the  chapel  of  the  Virgin  at  Saint- 
Germain-l'Auxerrois,  and  the  church  of  Saint-Germain  en  Laye. 
This  artist  has  traveled  in  Morea  and  in  Italy.  At  the  Luxembourg 
is  his  "  Study  of  a  Child  "  (1864).  In  1867  he  exhibited  at  the  Salon 
"Psyche  "and  a  portrait  of  General  de  Brayer ;  in  1865,  "  Daphnis 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  13 


and  Chloe,"  and  sketches  for  two  portraits  ;  in  1863,  "The  Birth  of 
Venus  "  and  a  portrait ;  in  1861,  portrait  of  Mile.  Emma  Fleury,  of 
the  Comedie  Francaise,  etc. 

"  It  is  necessary  to  rank  Amaury-Duval  among  those  delicate,  tender,  and  refined  ones 
to  whom  the  brutality  of  gross  effects  is  repugnant.  He  has  exhibited  a  portrait  of 
Mile.  Fleury,  adjusted  with  that  discreet  sobriety  of  which  he  has  the  secret,  and  which 
leaves  to  the  head  all  its  importance.  The  young  actress  wears  a  simple  dress  of  black 
silk ;  her  head-dress  is  a  knot  of  velvet.  Her  hands  adjust  themselves  gracefully,  one 
on  the  other,  and  her  face  is  turned  a  little,  so  that  she  looks  over  her  shoulder.  She 
passes  and  does  not  pose  herself.  It  requires  all  the  mind  of  Amaury-Duval  to  under- 
stand this  motive,  and  all  his  talent  to  render  it."  —  Theophile  Gautier,  Abecedaire 
du  Salon  de  1861. 

"  Grace,  and  sometimes  a  charming  grace,  is,  in  truth,  the  distinctive  mark  of  the 
talent  of  Amaury-Duval,  when  his  talent  is  neither  disconcerted  by  too  grand  propor- 
tions in  his  task,  nor  preoccupied  beyond  measure  with  ancient  models.  He  accommo- 
dates himself  with  difficulty  to  complicated  scenes,  to  subjects  which  require  in  the 
moral  expression  a  certain  abundance,  a  certain  power  of  invention,  and  in  the  pictur- 
esque arrangement  something  more  than  architectural  symmetry.  From  that  cause, 
without  doubt,  his  haste  in  such  a  case  to  take  refuge  under  the  authority  of  traditions, 
to  shield  his  secret  uncertainties  under  the  appearance  of  a  voluntary  sacrifice,  and  of  a 
chosen  part.  On  the  other  hand,  when  he  undertakes  simply  to  arrange  in  a  narrow 
frame  the  lines  of  a  figure  surrounded  by  some  accessories,  when  he  attempts  to  inter- 
pret nature  in  a  portrait,  or  to  idealize  it  in  some  type  chastely  nude,  such  as  the  Venus 
exhibited  at  the  Salon  of  1863,  Amaury-Duval  takes  counsel  before  all  of  himself  and  his 
own  taste.  He  listens  to  and  profits  by  the  advice  of  the  inward  voice  which  leads  him 
to  invest  the  truth  with  elegance  without  disguising  it  for  all  that,  —  to  refine  its  appear- 
ance, not  because  of  a  preconceived  system  of  archaism,  but  on  account  of  his  personal 
aspirations,  and  his  fine  perception  of  things.  Here,  neither  self-abandonment,  nor  in- 
sufficiency, no  pretension  to  make  art  immovable,  by  imitating  without  mercy  a  past 
from  which  we  are  separated  by  five  centuries ;  in  that  which  involves  a  pure,  ma- 
terial reproduction,  I  detect  no  excess  of  docility  nor  any  souvenirs  of  the  studio  of 

Ingres  His  very  sincere  and  refined  manner,  and  his  brush  at  once  truthful  and 

ingenious,  translate  contemporaneous  reality  with  a  delicacy  so  much  the  more  meri- 
torious as  it  harmonizes  better  with  models  of  a  character  somewhat  complex,  and  to 
that  mingling  of  simplicity  and  knowledge  which,  in  the  world  of  the  nineteenth  century, 
constitutes  what  is  called  'distinction.'  ....  Not  only  has  Amaury-Duval  never  ex- 
amined into  the  success  of  his  neighbors  in  order  to  comport  himself  accordingly,  or 
covenanted  with  the  fashion  in  order  to  buy  public  favor  at  a  low  price,  but  he  has  ac- 
cepted no  task  which  did  not  assimilate  itself  exactly  to  the  demands  of  his  sesthetic 
faith,  to  the  inclinations  of  his  talent,  to  the  particular  preferences  of  his  taste.  In 
becoming  habitually  a  painter  of  portraits  rather  than  a  painter  of  history,  he  has  not 
intended  to  sacrifice  the  conditions  of  art  to  the  complaisances  which  the  occupation 
seems  to  authorize ;  .  .  .  .  and  to  convert  his  function  of  artist  into  an  easy  or  lucrative 
profession,  or  his  studio  into  a  little  shop  well  patronized."  —  Henri  Delaborde,  Ga- 
zette des  Beaux-Arts,  May,  1865. 

Amberg,  Wilhelm.  (Ger.)  Born  at  Berlin,  1822.  Professor  and 
Member  of  the  Academy  of  Berlin,  where  he  was  once  a  pupil. 
Studied  also  under  Herbig,  Karl  Begas,  and  Leon  Cogniet  (at  Paris). 
He  has  traveled  in  Italy.  In  the  National  Gallery,  Berlin,  is  "Young 
Girls  reading  Goethe"  (1870).  At  the  Annual  Exposition  at  Berlin, 
in  1876,  he  exhibited  "A  Severe  Lecture,"  "The  Wild  Hunt,"  and 
"  Hero."  The  lithographs  of  this  artist  for  illustrated  publications 
are  much  prized. 


14       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Amerling,  Frederic.  (Aus.)  Born  at  Vienna,  1803.  Chevalier 
of  the  Orders  of  Francis  Joseph  of  Austria  and  Saint  Michael  of 
Bavaria.  Pupil  of  the  Academy  of  Fine  Arts  at  Vienna.  He 
struggled  with  poverty  in  his  youth,  "but  by  hard  work  at  painting, 
coloring  prints,  etc.,  he  earned  enough  to  go  to  England,  where  he 
worked  under  Lawrence,  then  to  Paris,  where  he  was  associated 
with  Vernet.  After  his  return  to  Vienna  he  gained  the  prize  at  the 
Academy  of  Fine  Arts  in  1831,  by  his  pictures  of  "  Dido  abandoned 
by  iEneas  "  and  "  Moses  in  the  Desert."  He  went  later  to  Italy,  where 
lie  studied  the  old  masters.  His  "  Judith  "  and  "  Ophelia  "  are  fine 
works  ;  the  last  was  at  Paris  in  1867.  His  portraits  are  good  ;  among 
them,  that  of  the  Emperor  Francis  I.,  with  his  crown  on  his  head  and 
the  scepter  in  his  hand,  is  quite  celebrated. 

Ames,  Joseph,  N.  A.  (Am.)  Born  in  New  Hampshire  (1816- 
1872).  Began  his  professional  career  in  his  native  state,  painting  por- 
traits for  some  years,  and  winning  a  fair  local  reputation  before  he 
opened  a  studio  in  Boston.  Going  to  Rome,  he  studied  the  higher 
branches  of  his  art,  and  painted  a  life-size  portrait  of  Pius  IX.,  which 
was  greatly  admired.  On  his  return  to  America  he  remained  in 
Boston  for  some  time,  resuming  the  active  duties  of  his  profession,  but 
settled  finally  in  New  York,  where  he  died.  He  was  elected  an  As- 
sociate of  the  National  Academy  in  1869,  and  Academician  in  1870,  ex- 
hibiting his  "  Death  of  Webster  "  in  1871,  and  his  own  portrait,  belong- 
ing to  the  Academy,  the  following  year.  Among  his  portraits  are 
Bistori  in  character,  Prescott  the  historian,  Blanche,  daughter  of  Ben- 
jamin F.  Butler,  half-length  of  Clarence  H.  Seward,  R.  W.  Emerson, 
Webster,  Rachel,  Choate,  and  many  more.  Although  Mr.  Ames  occu- 
pied at  one  time  a  high  position  in  his  profession,  it  has  been  difficult 
to  obtain  reliable  information  concerning  his  artistic  career.  A  well- 
known  artist  of  Boston,  still  living,  but  contemporary  with  Ames,  says 
of  him  that 

"  He  painted  portraits,  for  which  he  received  fifty  dollars  each,  in  Boston  ;  one  of 
these,  on  exhibition  at  the  Boston  Athenseum,  then  on  Pearl  street,  attracted  the  atten- 
tion of  Washington  Allston,  who  praised  it  for  its  fine  color,  which  was  one  of  Ames's 
strong  points ;  and  this  favorable  criticism  was  the  means  of  starting  the  fame  of 
this  afterwards  celebrated  portrait-painter,  whose  power  was  genius,  and  genius  alone, 
for  he  studied  under  no  one.  His  earliest  works  were  the  best,  when  his  style  and  color- 
ing were  original  and  pure,  and  before  he  attempted  to  imitate  a  style  entirely  opposed 
to  his  own." 

Mr.  Theophilus  Walker,  of  the  Gore  Place,  Waltham,  owns  a  num- 
ber of  his  pictures,  "  Miranda "  (an  early  work),  "  Night,"  "  Morn- 
ing," and  other  ideal  heads,  besides  a  portrait  of  Mr.  Walker,  and  one 
of  the  very  few  landscapes  ever  painted  by  Ames. 

"  Mr.  Ames  stood  confessedly  at  the  head  of  his  profession.  He  has  probably  con- 
tributed more  to  the  portraiture  of  distinguished  persons  than  any  other  artist  in  this 
country."  —  Boston  Advertiser,  November  3,  1872. 

"  His  chosen  specialty  was  portrait-painting,  and  not  a  few  of  his  many  works  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  15 


rare  excellence,  for  vigor,  naturalness,  and  grace,  have  been  widely  known  and  de- 
servedly admired.  Several  of  these  were  portraits  of  quite  noted  representative  persons, 
and  others  idealized  whilst  preserving  the  likeness  of  well-known  professional  celeb- 
rities. Mr.  Ames  was  prostrated  by  an  illness  from  which  he  recovered  to  resume  his 
pencil  with  little  or  no  loss  of  his  marked  characteristic  as  a  painter  of  repute  for  his 
aptitude  in  composition  and  skillful  interpreting  treatment  of  his  subjects."  —  Boston 
Transcript,  November,  1872. 

Anastasi,  Auguste.  (Fr.)  Born  at  Paris,  1819.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Delaroche  and  Corot.  His  pictures 
are  landscapes.  Since  1849  he  has  devoted  himself  to  lithography, 
and  especially  to  the  illustration  of  "  L' Artiste ,;  and  "  Artistes  Con- 
temporains."  At  the  Luxembourg  is  his  "  Terrace  at  the  Villa 
Pamfili,  at  Rome  "  (1864).  In  1865  he  exhibited  at  the  Salon,  "The 
Roman  Forum  ;  Setting  Sun,"  "  The  Banks  of  the  Tiber,"  and  two 
Roman  views  in  water-colors  ;  in  1866,  "  Terrace  of  a  Convent  at 
Rome,"  "  A  View  at  Tivoli,"  and  a  water-color  of  an  Italian  villa  ;  in 
1867,  "The  Coliseum"  and  a  "Brook  in  Autumn";  in  1868,  "A 
Wash-House  near  Naples,"  "  A  Bit  of  the  Village  of  Leidschendam  in 
Holland,"  and  a  water-color  of  the  "  Winter  Garden  of  the  Princess 
Mathilde,"  belonging  to  that  princess.  He  has  painted  many  Dutch 
landscapes,  and  Theophile  Gautier,  in  the  "  Abecedaire  du  Salon  de 
1861,"  compared  him  to  Van  der  Neer,  and  expressed  his  surprise  at 
the  wonderful  manner  in  which  this  artist  with  an  Italian  name  had 
perfected  himself  in  representing  Dutch  views,  with  their  peculiar 
colors  and  forms.  He  declared  that  in  fifty  years  the  works  of  Anas- 
tasi will  be  worth  as  much  as  the  works  of  Van  der  Neer  now  are.  "  A 
Landscape,"  by  Anastasi,  is  in  the  collection  of  Mrs.  H.  E.  Maynard 
of  Boston. 

Anderson,  Alexander.  {Am.)  Engraver.  Born  in  New  York 
(1775  - 1870).  Said  to  have  been  the  earliest  American  wood-en- 
graver. He  was  entirely  self-taught,  manufacturing  his  own  engrav- 
ing tools.  He  began  by  cutting  on  copper  before  he  was  fifteen  years 
of  age.  After  receiving  his  diploma  as  a  doctor  of  medicine,  he 
turned  his  attention  to  engraving  as  a  profession  about  the  beginning 
of  the  present  century,  his  first  work  of  importance  being  the  illus- 
tration of  a  small  volume  entitled  "  Looking- Glass  for  the  Mind." 
About  1810  he  began  engraving  on  wood,  devoting  himself  thereafter 
entirely  to  that  branch  of  his  profession,  and  illustrating  many  stand- 
ard American  books.  He  retired  from  active  work  in  1865,  at  the  age 
of  ninety. 

"  The  art  of  engraving  on  wood  was  first  undertaken  in  this  country  by  Alexander 
Anderson,  a  native  of  this  city,  about  the  year  1794.  This  ingenious  artist,  still  alive 
[1858],  and  in  full  employment,  now  in  his  eighty-third  year,  was  originally  a  physi- 
cian, and  had  graduated  M.D.  in  Columbia  College.  The  extent  of  his  labors  in  the  pro- 
fession he  has  exercised  so  long  can  scarcely  be  calculated.  He  has  often  been  termed  a 
second  Bewick."  —  Dr.  Francis,  in  Old  New  York. 

Anderson,  A.  A.  (Am.)  Born  in  New  Jersey,  1847.  He  has 
spent  his  professional  life  in  Paris  and  New  York,  studying  in  the 


16       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


former  city  under  Bonnat  and  Cabanel.  He  exhibits  at  Paris  salons, 
New  York  Academy,  etc.  Among  his  more  important  works  are,  "  A 
Street  Scene  in  Cairo,"  painted  in  1875,  now  in  the  possession  of 
J.  Milbank,  Esq.;  "The  Young  Oriental,"  Salon  of  1876  ;  life-size, 
full-length  portrait  of  Mrs.  A.  A.  A.,  Salon  of  1877  ;  and  "  Palm' 
Sunday,"  a  life-size  Italian  girl,  in  the  Paris  Exposition  of  1878.  He 
is  a  member  of  the  American  Water-Color  Society. 

"  Anderson's  portrait  [Paris  Salon  of  1877]  is  excellent ;  the  sheeny  blue  satin  of  the 
dress  extremely  well  rendered."  — Lucy  Hooper,  Appletons'  Art  Journal.  September 
1877. 

Andre,  Jules.  {Ft.)  Born  at  Paris  (1804-1869).  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Jolivard  and  Watelet.  He  made  his 
debut  at  the  Salon  of  1841.  He  traveled  in  France  and  Belgium, 
and  was  then  attached  to  the  manufactory  at  Sevres,  but  did  not  al- 
low his  labors  there  to  divert  him  from  painting  on  canvas.  His 
"  Bridge  of  Tauron  on  the  Torrion  "  (1855),  and  "  A  View  in  the  Val- 
ley of  Streture  "  (1863),  were  purchased  by  the  government.  Andre 
executed  several  decorations  in  the  pavilion  Mollien  at  the  New 
Louvre,  and  others  in  the  Hotel  d'Albe.  He  exhibited,  in  1864, 
"The  Fountain  of  the  Oaks"  (Gironde)  ;  in  1865,  "The  Banks  of 
the  Oise  at  Saint-Leger-sous-Bois  "  ;  in  1866,  "A  View  at  Saint-Die," 
and  many  other  views  of  French  scenery. 

Andrews,  Joseph.  {Am.)  Born  at  Hingham,  Mass.  (1806-1873). 
His  inclination  towards  his  art  was  early  developed,  and  when  fif- 
teen years  old  he  commenced  the  study  of  wood-engraving  with  Abel 
Bowen  of  Boston.  Mr.  Hoogland  taught  him  copperplate  dhgraving. 
In  1827  he  established  himself  in  Lancaster,  Mass.,  with  his  brother, 
who  was  a  printer.  In  1835  he  went  to  London,  and  studied  for  nine 
months  under  Joseph  Goodyear,  at  which  time  he  executed  the  plate 
of  "  Annette  de  l'Arbre,"  after  W.  E.  "West.  He  went  to  Paris  with 
Goodyear,  and  there  made  an  engraving  of  the  head  of  Benjamin 
Franklin,  after  Duplessis,  now  in  the  Boston  Public  Library.  In 
1840  he  went  a  second  time  to  Europe,  and  while  in  Paris  executed 
six  plates  of  portraits  for  the  Historical  Gallery  at  Versailles.  These 
were  published  under  the  auspices  of  Louis  Philippe.  At  Florence 
he  commenced  his  plate  of  the  "  Duke  of  Urbino,"  after  Titian. 

His  head  of  Washington,  after  Stuart,  and  his  "  Plymouth  Bock, 
1620,"  after  Peter  F.  Rothermel,  are  among  the  best  American  engrav- 
ings. His  plates  not  already  mentioned  are,  Oliver  Wolcott,  head 
and  bust,  after  J*  Trumbull  ;  John  Quincy  Adams,  half  length, 
sitting,  a  book  in  his  left  hand,  after  G.  P.  A.  Healy  ;  Z.  Taylor,  full 
length,  head  only  finished  ;  Jared  Sparks,  after  an  unfinished  picture 
by  Stuart ;  Amos  Lawrence,  three  quarters  length,  head  only  fin- 
ished, after  C.  Harding  ;  James  Graham,  head  and  bust,  after  Healy  ; 
Charles  Sprague,  three  quarters,  sitting,  head  only  finished  ;  Thomas 
Dowse,  half  length,  sitting,  after  M.  Wight  ;  "  Passing  the  Ford," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  17 


after  Alvan  Fisher  ;  "  The  Panther  Scene  from  '  The  Pioneers/  "  after 
George  L.  Brown  ;  "  Swapping  Horses,"  after  W.  S.  Mount  ;  "  Par- 
son Wells  and  his  Wife,"  after  F.  O.  C.  Darley  ;  "  The  Pilgrim's 
Progress,"  after  Hammatt  Billings  ;  and  a  few  others  done  in  connec- 
tion with  T.  Kelley  and  C.  E.  Wagstaff. 

Andrews,  E.  F.  {Am.)  An  Ohio  artist.  He  studied  painting  for 
some  years  in  Germany  and  in  Paris,  where  he  was  a  pupil  of  Bonnat. 
He  spent  the  winter  of  1877  -  78,  in  Washington,  D.  C.,  painting 
portraits  and  genre  subjects.  He  exhibited  at  the  Corcoran  Gal- 
lery, in  1878,  a  full-length  portrait  of  Mrs.  Washington.  His  "Little 
Leonie  "  and  two  portraits  were  at  the  Centennial  Exhibition  in  1876. 

Angeli,  Heinrich  von.  (Aus.)  Medal  at  Philadelphia.  This 
artist  is  a  favorite  of  royal  families,  and  has  made  many  portraits  of 
noble  personages.  His  manner  resembles  that  of  Lenbach.  He  went 
to  England,  where  he  painted  a  portrait  of  the  Queen  to  be  hung  in 
the  dining-room  at  Windsor  ;  a  picture  of  the  Prince  and  Princess  of 
Wales  with  their  children,  for  Osborne ;  portraits  of  the  Duke  and 
Duchess  of  Edinburgh,  the  Princess  Louise  and  the  Marquis  of  Lorne, 
the  Prince  and  Princess  Christian,  and  the  Princess  Beatrice,  Sir 
John  McNeill,  the  Duke  of  Argyle,  and  many  other  notable  persons. 
Queen  Victoria  presented  Von  Angeli  with  choice  tokens  of  her  ap- 
preciation, and  the  Prince  of  Wales  not  only  entertained  him  in  his 
family  circle,  but  introduced  him  to  his  tailor,  Poole,  who  made  for  the 
artist  a  close-fitting  coat !  The  oft-named  servant,  Brown,  so  admired 
the  works  of  Von  Angeli  that  when  the  Queen  showed  him  her  por- 
trait, it  is  said  that  he  exclaimed,  "  Your  Majesty  should  burn  your 
other  portraits  ;  this  alone  does  you  justice  ! "  The  Queen  desired 
Angeli  to  go  to  Darmstadt  to  paint  the  portraits  of  the  Princess  Alice 
and  her  family.  Naturally  this  sort  of  patronage  gives  him  a  popu- 
larity which  is  somewhat  irksome.  He  is  invited  everywhere,  and 
his  studio  is  crowded  with  persons  desiring  to  be  made  famous  by  his 
brush.  At  the  Annual  Exposition  in  Berlin,  1871,  he  exhibited  a 
genre  picture  called  "  The  Avenger  of  his  Honor  " ;  and  at  Vienna, 
the  same  year,  "  Youthful  Love."  In  his  report  upon  the  Philadel- 
phia Exposition,  John  F.  Weir  says  :  — 

"Two  portraits  by  Henry  von  Angeli  are  characteristic,  though  not  representative  of 
this  artist  at  his  best.  It  would  have  added  greatly  to  the  interest  of  the  Austrian  ex- 
hibit had  Von  Angeli  contributed  something  in  genre,  as,  for  instance,  such  a  work  as 
the  '  Avenger  of  his  Honor,'  which  is  widely  known." 

Anker,  Albert.  (Swiss.)  Born  at  Anet.  Medal  at  Paris,  1866. 
Pupil  of  Gleyre.  At  the  Salon  of  1877  he  exhibited  a  "  Scene  from 
the  War  of  1798"  ;  in  1876,  "Springtime"  and  "  The  Little  Embroid- 
erers" ;  in  1875,  "The  Old  Huguenot"  and  "New  Wine."  At  the 
Johnston  sale,  in  1876,  New  York,  "  The  Knitting  School "  (30  by  48) 
sold  for  $  1,000.  At  the  Salon  of  1878  he  exhibited  "  The  Conva- 
lescence." 

B 


18       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Ansdell,  Richard,  R.  A.  (Brit.)  Born  in  Liverpool,  1815,  where 
he  was  educated.  First  exhibited  at  the  Royal  Academy,  in  1840, 
"  A  Galloway  Farm  "  and  "  Grouse  Shooting."  "  The  Drover's  Halt  " 
(1856)  was  his  first  contribution  to  the  walls  of  the  British  Institu- 
tion. Among  his  historical  pictures  may  be  mentioned,  "  The  Death 
of  Sir  W.  Lambton  at  Marston  Moor,"  in  1842  ;  and  "  Mary  Queen 
of  Scots  returning  from  the  Chase,"  in  1844.  He  is  better  known, 
however,  for  his  paintings  of  animals,  in  the  well-known  style  of  Sir 
Edwin  Landseer.  Among  the  more  famous  of  these  are,  "  The  Death,"' 
in  1843  ;  "  The  Combat,"  in  1848  ;  "  The  Shepherd's  Revenge"  and 
"  Fox-Hunting  in  the  North,"  in  1855  ;  "  The  Highland  Cattle- 
Fair,"  in  1874,  and  "  The  Wolf-Slayer,"  and  "  Turning  the  Drove," 
for  which  he  received  a  gold  medal  at  the  Paris  Exhibition  of  1855. 
In  1850,  and  during  some  years  later,  he  painted,  in  conjunction  with 
Thomas  Creswick,  the  landscape-artist,  several  pictures,  "  The  South 
Downs,"  in  1850  ;  "  The  Drover's  Halt "  and  "  The  Park,"  in  1855. 
In  his  "  Feeding  the  Calves  "  (1855)  the  animals  only  are  from  his 
brush,  the  milkmaid  being  executed  by  Frith.  In  1856  and  1857 
Mr.  Ansdell  visited  Spain  for  the  purpose  of  work  and  study,  the 
result  being  his  "Water-Carrier"  and  "Mules  Drinking,"  in  1857  ; 
"  Crossing  the  Ford,  Seville,"  in  1858  ;  and  the  "  Spanish  Flower- 
Seller,"  in  1859.  Among  his  later  works  are,  "Feeding  the  Goats  in 
the  Alhambra,"  in  1871  ;  "West  Highlands  "  and  "  Found,"  in  1872  ; 
"  Gathering  the  Herd  "  and  "  The  Tethered  Yowe,"  in  1873 ;  "  The  In- 
truders" and  "  The  Anxious  Mother,"  in  1875  ;  "  Peat-Gathering"  and 
"  The  Wandering  Minstrel,"  in  1876  ;  and  "  Rejected  Addresses"  and 
"  The  Home  of  the  Red  Deer,"  in  1877.  He  was  made  an  Associate 
of  the  Royal  Academy  in  1861,  and  an  Academician  in  1870. 

"  'The  Goatherds  of  Granada '  is  one  of  the  most  beautiful  representations  of  a  special 
phase  of  Spanish  rural  life  Mr.  Ansdell  has  ever  painted.  The  composition  of  the  group 
is  very  effective,  and  the  whole  subject  most  pleasing."  —  Art  Journal,  June,  1877. 

"  Ansdell  is  a  very  accomplished  artist,  and  when  he  does  not  think  about  etching  at 
all,  but  simply  sketches  as  he  would  with  a  finely  pointed  pen,  he  does  work  of  a  cer- 
tain value,  which  value  depends  on  his  knowledge  of  animals,  and  not  on  his  knowledge 
of  etching,  in  which  he  does  appear  to  be  especially  interested.  ....  Considered 
specially  as  etching,  '  The  Sentinel '  may  rank  with  such  German  work  as  that  of  Gauer- 
man,  but  the  draughtsmanship  is  so  intelligent  as  to  surpass  even  the  best  designs  of 
Gauerman,  and  I  suppose  no  one  could  have  drawn  such  a  stag  better."  —  Etching  and 
Etchers,  1876. 

Anthony,  Mark.  (Brit.)    Born  in  Manchester,  1817.   At  the  age 

of  thirteen  began  the  study  of  medicine,  but  quickly  relinquished  it  for 
practice  in  landscape  art.  Went  to  Paris  in  1834,  and  studied  on  the 
Continent  for  six  years.  He  first  exhibited  at  the  British  Institute  in 
1840,  and  was  elected  a  member  of  the  Society  of  British  Artists  in 
1845,  where  he  remained  until  1851,  exhibiting  there  in  1847  his 
"  Harvest  Home,"  in  1848  his  "  Prayer  for  the  Absent,"  in  1849  his 
"Old  Country  Churchyard,"  and  in  1850  an  "Elm  at  Eve."  In 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  19 


1851  he  exhibited  at  the  Royal  Academy  "  Beeches  and  Ferns  "  ;  in 
1852,  "The  Monarch's  Oak";  in  1854,  "Nature's  Mirror";  in  1859, 
"  Stonehenge "  ;  in  1863,  "A  Relic  of  the  Feudal  Time"  ;  in  1864, 
"Looking  across  the  Common"  ;  in  1866,  "  The  Peace  of  the  Valley"  ; 
in  1869,  "Lerida,  Spain";  in  1871,  "Night  and  Storm  and  Dark- 
ness" (also  at  the  Paris  Exposition),  and  "  The  Return  after  Labor"  • 
in  1872,  "Hazle wick  Mill,  Sussex";  in  1873,  "Evensong";  and 
in  1878,  "An  Incident  by  the  Wayside." 

"Mr.  Anthony's  picture,  a  village  church  seen  between  tall  trees  ['Rest  for  the 
Weary,'  R.  A.,  1865],  is  manly  and  unaffected,  and  skillful  in  the  use  of  gray.  Here  a 
last  gleam  of  crimson  light  rests  for  a  moment  on  the.upper  battlement  of  the  tower ;  the 
evanescent  look  of  this  faint  flicker  is  well  suggested."  —  Palgrave's  Essays  on  Art. 

Anthony,  Andrew  Varick  Stout.  (Am.)  Born  in  New  York, 
1835.  He  studied  drawing  in  his  native  city  under  Thomas  S.  Cum- 
mings,  and  engraving  under  T.  W.  Strong  and  Edward  Vollum.  He 
has  spent  his  professional  life  in  New  York,  California,  and  Boston, 
where  he  now  resides.  He  was  one  of  the  original  members  of  the 
American  Water-Color  Society,  but  has  devoted  himself  particularly 
to  engraving  with  marked  success.  He  has  contributed  to  illus- 
trated books  published  by  the  Harpers,  Appletons,  and  Scribners, 
and,  since  1866,  has  done  the  larger  part  of  the  finer  work  of  that 
kind  for  Ticknor  and  Fields,  Fields,  Osgood  &  Co.,  James  R.  Osgood 
&  Co.,  and  Houghton,  Osgood  &  Co.  The  list  of  books  illustrated 
by  Mr.  Anthony  is  very  large,  among  the  most  successful  being  "  Snow- 
Bound,"  1867,  "Ballads  of  New  England,"  1870,  "Mabel  Martin," 
1876,  "  Skeleton  in  Armor,"  1877,  "  Scarlet  Letter,"  1878,  etc. 

"  The  engraving  ['  Ballads  of  New  England']  is  by  A.  V.  S.  Anthony,  who  ranks  with 
Linton  at  the  head  of  living  artists  in  this  specialty,  in  England  or  America.  The 
exquisite  beauty  and  finish  of  these  illustrations  cannot  but  charm  one.  The  tender 
expressiveness,  the  fine  gradations  of  light  and  shade,  the  poetic  sentiment  of  the  land- 
scape in  its  varied  aspects,  the  dash  of  the  waves,  the  subtle  drifting  mists,  the  power 
and  sublimity  of  the  storm,  and  the  genial  warmth  and  glow  of  the  fireside,  all  seem  ex- 
pressed in  the  simple  wood-cut  with  the  truth  and  sensitiveness  of  a  living  picture. 
That  the  tone,  color,  and  character  of  New  England  scenery  should  be  so  thoroughly 
imitated  and  suggested  with  such  limited  means,  is  indeed  wonderful. "  —  N.  Y.  Home 
Journal,  1870. 

The  following,  from  a  letter  written  by  Mary  Hallock  Foote,  in  No- 
vember, 1877,  is  a  very  valuable  opinion,  as  only  the  artist  who  makes 
the  designs  fully  realizes  the  success  or  failure  of  the  engraver's  work. 

"  '  The  Scarlet  Letter'  is  here.  Your  part  is,  as  it  always  is,  earnest,  strong,  and  faithful. 

"  '  Hester  walking  to  and  fro '  is  a  superb  engraving,  So  is  '  Hester  before  the  Minis- 
ter,' in  the  Government  Hall.  I  remember  what  a  dark  and  muddled  corner  that  was 
by  the  window.  The  last  one  of  '  Hester  on  the  Threshold  '  is  perfect ;  so  is  '  Roger  gath- 
ering Herbs  '  ;  so  is  the  decoration  for  the  chapter  called  '  Pearl.'  I  think  some  of  your 
strongest  and  tendevest  work  is  in  this  book." 

"  England  has  long  held  the  palm  of  superiority  in  the  art  of  wood-engraving,  but 
America  now  disputes  her  claim  to  it.  Certainly  no  finer  specimens  of  this  beautiful 
art  were  evej-  produced,  than  Anthony's  engravings  in  the  illustrated  edition  of  Whittier's 


20       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


'Snow-Bound.'  For  delicacy  of  touch,  clearness  of  line,  and  every  other  quality  that 
distinguishes  good  work  in  wood,  these  engravings  are  unsurpassed. "  —  American  Pub- 
UsMr  and  Bookseller. 

"  The  Pall  Mall  Gazette  unintentionally  bestows  very  high  praise  upon  an  American 
engraver,  Mr.  A.  V.  S.  Anthony.  In  a  notice  of  Whittier's  '  Snow-Bound '  the  English 
critic  mistakes  Mr.  Anthony's  work  for  Mr.  Linton's.  Of  the  pictures  mentioned  two  are 
engraved  by  Mr.  Anthony. "  —  Every  Saturday. 

Antigna,  Jean-Pierre- Alexandre.  (Fr.)  Born  at  Orleans  (1818  - 
1878).  Chevalier  of  the  Legion  of  Honor.  Medal  at  Philadelphia, 
1876.  After  studying  at  Orleans  he  entered  the  atelier  of  Delaroche, 
and  made  his  debut  at  the  Salon  of  1841  with  a  religious  subject,  such 
as  he  continued  to  paint  for  a  few  years.  He  then  exhibited  his 
"  Poor  Family,"  which  brought  him  into  favorable  notice.  "  The 
Bathers  "  (1846)  was  purchased  for  the  Museum  of  Orleans  ;  "  Light- 
ning "  (1848),  for  the  Museum  of  Avignon.  "The  Conflagration" 
(1850)  is  at  the  Luxembourg.  His  works  are  very  numerous.  In 
1877  he  exhibited  "  The  Game  of  Strength"  and  "  The  Fire  of  the 
Fete  of  St.  John  "  ;  in  1876,  "  The  Women  and  the  Secret "  (Fon- 
taine) ;  in  1875,  "Yvonne  and  Marc"  ;  in  1874,  "A  Bising  Sea" 
and  "  After  the  Tempest."  In  1878  he  exhibited  "  L'Enfer  "  and  a 
portrait.  His  "  Industry  and  Bevery  "  is  in  the  gallery  of  Mr.  T.  B. 
Butler  of  New  York. 

"  This  artist  created  realism  long  before  Courbet,  but,  as  Jourdain  created  prose, 
without  knowing  it  and  without  pride  in  it.  He  copied  nature  honestly  as  he  saw  it 
without  preference  or  research,  —  his  models  were  not  always  beautiful,  but  he  nattered 
them  not,  neither  made  them  more  ugly.  His  painting  was  a  good,  full,  frank  painting, 
healthy,  robust,  a  little  bise  and  agi'eeable  sometimes,  as  is  home-made  bread  after  a 
series  of  fine  suppers.  Antigna  merited  and  obtained  honest  successes,  and  sustains 
conscientiously  the  reputation  which  he  has  acquired,  and  lacks  little  of  being  a  truly 
great  painter.  What !  a  sunbeam,  a  light,  a  thought.  That  which  he  seems  to  have 
caught  in  the  'Fontaine  verte.'  "  —  Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 

Antigna,  Mme.  Helene-Marie.  (Fr.)  Born  at  Melun.  Pupil 
of  Delacroix  and  of  Antigna.  Her  pictures  are  small  genre  subjects, 
and  are  praised  by  artists.  In  1877  she  exhibited  "  On  n'entre  pas !" 
and  "The  New  Cider"  ;  in  1876,  "An  Interior  at  Saint-Brieuc  "  and 
"  A  Stable  "  ;  in  1875,  "  Tant  va  la  cruche  a  l'eau,"  etc. 

Appert,  Eugene.  (Fr.)  Born  at  Angers  (about  1820-1867). 
Chevalier  of  the  Legion  of  Honor.  He  painted  historical  and  genre 
subjects.  His  "  Vision  of  St.  Oven"  (1844)  was  purchased  by  the 
government;  also,  "The  Adoration  of  the  Magi"  (1853).  In  1865 
he  exhibited  at  the  Salon,  "The  Confession  at  the  Convent"  ;  in 
1864,  "The  Pope  Alexander  III."  (being  proscribed  by  Calixtus,  he 
goes  to  a  monastery  disguised  as  a  beggar),  also  "  Bullfinches  "  ;  in 
1863,  "  Venice  "  and  a  portrait  ;  etc. 

Appiani,  Andrea.  (Ital.)  Born  at  Milan  (about  1812-1866). 
Several  medals  at  Borne,  and  the  grand  prize  at  the  Academy  of 
Milan.  His  pictures  of  "  Petrarch  at  Avignon  "  and  "  A  Young  Ital- 
ian Emigrant  pressing  to  her  Heart  the  National  Colors "  were  seen 
at  the  Paris  Exposition  of  1855. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


21 


Appleton,  Thomas  G.  (Am.)  (1812-1884.)  A  son  of  the  late 
Nathan  Appleton  of  Boston.  Although  not  a  professional  artist,  Mr. 
Appleton  studied  art  under  Brown  of  England  and  Doughty  of  Phil- 
adelphia, and  has  painted  in  oil  and  water  many  original  landscapes, 
besides  copies  of  the  masters  in  the  various  art-centres  of  Europe.  A 
collection  of  his  works,  exhibited  in  Boston  a  few  years  ago,  after 
his  return  from  Egypt,  attracted  much  attention.  Mr.  Appleton  is 
known,  however,  as  a  patron  of  the  arts,  rather  than  an  artist,  having 
done  much  for  the  art  education  of  the  people  of  Boston,  and  for  the 
encouragement  of  worthy  artistic  talent.  He  has  a  large  number  of 
fine  works  by  foreign  and  home  painters,  which  are  frequently  seen 
in  public  art  exhibitions  ;  and  he  needs  no  other  monument  to  his 
generosity  and  artistic  judgment  than  the  collection  of  engravings 
donated  by  him  to  the  Public  Library  of  Boston,  which  is  daily  doing 
so  much  for  the  improvement  of  the  popular  taste.  Mr.  Appleton  has 
been  deeply  interested  in  the  Boston  Museum  of  Fine  Arts  since  its 
organization,  and  has  given  it  a  valuable  collection  of  Greek  vases. 

Archer,  John  Wykeham.  (Brit.)  (1808-1864.)  Went  to 
London  at  the  age  of  twelve,  studying  under  an  engraver  of  animals 
for  some  years.  In  1827  he  made  a  series  of  etchings  of  several  of 
the  cathedrals  of  England,  and  a  little  later  etchings  and  drawings 
of  the  old  buildings  and  streets  of  Edinburgh.  His  specialty  was  the 
delineation  of  architectural  ruins  and  ancient  edifices.  He  was  a 
member  of  the  New  Society  of  Painters  in  Water-Colors,  and  the 
author  of  a  book  entitled  "  Vestiges  of  Old  London,"  which  he  illus- 
trated with  etchings. 

Archer,  James.  (Brit.)  Born,  1824.  Educated  at  the  Trustees 
Academy,  Edinburgh,  devoting  himself  to  drawing  in  chalk  during 
the  first  ten  years  of  his  professional  life.  In  1849  he  sent  to  the  Royal 
Scottish  Academy  "  The  Last  Supper,"  his  first  exhibited  picture  in 
oil.  He  was  elected  Associate  of  the  Royal  Scottish  Academy  in 
1853,  Academician  in  1858.  He  exhibited  at  the  Royal  Academy,  Lon- 
don, for  the  first  time  in  1854,  crayon  portraits  ;  in  1856,  "  Musing  " 
and  "  Amused  "  ;  in  1857,  "  In  Time  of  War  "  ;  -  in  1858,  "  A  Hidden 
Sorrow"  ;  in  1859,  "  Fair  Rosamond  and  Queen  Eleanor"  ;  in  1861, 
"  Playing  at  Queen."  He  removed  to  London  from  Edinburgh  in 
1862,  and  sent  to  the  Royal  Academy,  in  1864,  "  How  the  Little  Lady 
stood  to  Velasquez";  in  1865,  "The  Puritan  Suitor";  in  1867, 
"  The  Times  of  Charles  I."  ;  in  1869,  "  Against  Cromwell"  ;  in  1870, 
"Sir  Patrick  Spens";  "in  1872,  "Henry  Irving  as  Mathias  in 
'The  Bells'";  in  1873,  "Irving  as  Charles  I.";  in  1874,  "The 
Fair  Beauty  and  the  Dark";  in  1875,  "Springtide";  in  1876, 
"Little  Bo-Peep";  in  1878,  "The  Trysting  Tree"  ;  besides  many 
portraits. 

To  the  International  Exhibition  of  1862,  in  London,  Archer  sent 
"  Summer  Time,  —  Gloucester"  ;  to  Paris,  in  1867,  "  Buying  an  In- 


22       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


diligence"  ;  to  Philadelphia,  in  1876,  "  The  Three  Sisters"  ;  and  to 
Paris,  in  1878,  "  Rose  "  and  "  Little  Miss  Primrose." 

"  John  Stuart  Blackie  [by  James  Archer]  is  an  entirely  well-meant,  and,  I  should  con- 
jecture, successful  portrait  of  a  man  much  deserving  portraiture.  The  background  has 
true  meaning,  and  is  satisfactorily  complete  ;  very  notable  in  that  character  among  por- 
trait backgrounds  of  the  year.  The  whole  is  right  and  good."  —  John  Ruskin's  Notes 
of  the  Academy,  1875. 

"  'Rose,'  by  J.  Archer  [R.  A.  1877],  a  remarkably  sweet  girl,  full-faced,  fair-complex- 
ioned,  standing  in  a  light  dress  and  quilted  satin  petticoat,  is  one  of  the  most  fascinating 
pictures  in  the  room."  —  Art  Journal,  July,  1877. 

Argenti,  Giosue.  (Ital)  Of  Milan.  At  Philadelphia  he  ex- 
hibited "  Dreams  of  Youth,"  "  Hope,"  and  "  The  Florist,"  and  received 
a  medal.  He  also  received  medals  at  Vienna  in  1873,  and  at  Paris  in 
1867.  At  the  Universal  Exposition  of  1878  he  exhibited  a  marble 
statue  called  "  The  Rose  of  the  Loves." 

Arienti,  Carlo.  (Ital.)  Born  at  Arcore  (1801  -  1872).  Professor 
of  painting  in  the  Accademia  Albertina.  Cavalier  of  the  Order  of  SS. 
Maurice  and  Lazarus.  Pupil  of  the  schools  of  the  Brera  at  Milan.  His 
most  notable  works  are,  "  Beatrice  di  Tenda,"  "  Jeremiah,"  "  Orestes," 
"  Phedra  and  Ippolito,"  "  Francesca  da  Rimini,"  and  the  "  Origin  of 
the  Lombard  League."  The  last  is  in  the  Quirinal  at  Rome.  His 
portrait  of  Bellini,  now  in  the  Conservatorio  at  Naples,  is  the  only  one 
of  the  great  composer  in  existence. 

Arienti  was  remarkable  for  his  accurate  drawing.  He  was  greatly 
honored  by  the  House  of  Savoy,  and  received  many  commissions  from 
the  nobles  of  Milan,  Turin,  and  other  cities.  His  "  Barbarossa"  was 
painted  for  Charles  Albert,  and  is  in  the  Hall  of  the  Pages  of  the 
Royal  Palace  of  Turin. 

Armand-Dumaresq,  Charles  Edouard.  (Fr.)  Born  at  Paris, 
1826.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Couture.  His 
"  Martyrdom  of  St.  Peter"  (1853)  is  in  the  Cathedral  of  Caen,  and  a 
"  Christ "  in  the  Palace  of  Justice  at  Paris.  He  painted  the  "  De- 
parture for  the  Crusades,"  for  which  he  received  the  Cross  of  Saint- 
Sylvestre.  Later  he  turned  his  attention  to  the  painting  of  military 
subjects.  He  accompanied  the  army  to  various  places  in  order  to 
make  sketches.  In  1877  he  exhibited  at  the  Salon  "  Charles  XII.  at 
Bender,  1713  "  ;  in  1875,  "  The  Surrender  of  Yorktown,  1781 "  ;  por- 
trait of  Caleb  Gushing,  and  water-colors  of  "  A  Prussian  Uhlan  "  and 
an  "  Officer  of  Pennsylvania  Artillery  "  ;  in  1874,  "  A  Council  of  War 
at  a  Bivouac  "  and  "  The  Spy  "  ;  in  1873,  "  The  Signing  of  the  Dec- 
laration of  Independence  of  the  United  States  of  America,  1776"  ; 
in  1872,  "The  Defence  of  St.  Quentin,  October  8,  1870"  j  in  1869, 
"  The  Evening  of  Austerlitz  "  and  "  The  Day  after  Solferino."  Ar- 
mand-Dumaresq has  also  made  many  drawings,  among  others  a  collec- 
tion of  the  uniforms  of  the  army,  which  is  at  Versailles. 

Armitage,  Edward,  R.  A.  (Brit.)  Born  in  London,  1817.  Pupil 
of  Paul  Delaroche  in  Paris,  whom  he  assisted  in  the  decoration  of  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  23 


Paris  School  of  Fine  Arts.  Among  his  earlier  works  are,  "  Prometheus 
Bound,"  in  1842  ;  "  The  Battle  of  Meanee,"  for  which  he  received  a 
prize  of  J  500  in  1847,  and  which  was  subsequently  purchased  by  the 
Queen  ;  "  Samson  at  the  Mill,"  "  Aholibah,"  and  "  B.etribution,"  in 
1858.  He  received  a  prize  of  ,£300  for  his  "Landing  of  Julius 
Csesar,"  a  cartoon  sent  to  the  Westminster  Hall  Exhibition  in  1843, 
and  £  200  for  a  cartoon,  "  The  Spirit  of  Religion,"  in  1845.  He  exe- 
cuted two  frescos  in  the  New  Parliament  House  in  London.  Spent 
two  years  in  study  in  Borne,  1849-51,  and  painted  "Inkerman" 
and  "  Balaklava,"  the  result  of  a  visit  to  the  Crimea  during  the  Bus- 
sian  War.  He  exhibited  at  the  Boyal  Academy,  in  1860,  "  The  Mother 
of  Moses  hiding  after  exposing  her  Child";  in  1861,  "Pharaoh's 
Daughter"  ;  in  1863,  "  Burial  of  a  Christian  Martyr  in  the  Time  of 
Nero"  ;  in  1866,  "The  Bemorse  of  Judas"  ;  in  1867,  "Christ  heal- 
ing the  Sick  "  ;  in  1868,  "  Herod's  Birthday  Feast"  ;  in  1870,  "  Geth- 
semane  "  ;  in  1873,  "  Simplex  munditiis  "  ;  in  1875,  "  Julian  the 
Apostate  presiding  at  a  Conference  of  Sectarians"  ;  in  1876,  "The 
Hymn  of  the  Last  Supper  "  ;  in  1877,  "  Serf  Emancipation,"  which 
was  at  the  Paris  Exposition  of  1878. 

He  was  elected  Associate  of  the  Boyal  Academy  in  1867,  and  Acade- 
mician in  1874. 

"Armitage  still  paints  with  a  dry,  ascetic  sort  of  brush,  so  to  speak  ;  but  when  an 
artist  comes  to  his  work  with  a  broad,  historic  grasp  of  his  subject,  such  as  we  have 
here,  it  would  be  hypercriticism  to  condescend  to  minor  matters."  —  Art  Journal,  July, 
1877. 

"  Armitage  is  an  artist  rather  of  the  past,  good  in  composition  and  drawing,  poor  in 
color,  although  professor  of  painting  at  the  Royal  Academy."  —  Benjamin's  Conte?npo- 
rary  Art  in  Europe, 

"Mr.  Armitage  appears  to  be  one  solitary  English  painter  in  a  class  of  subjects  which 
the  French  have  followed  with  much  success.  His  '  Burial  of  a  Martyr '  [R.  A.,  1863] 
represents  what  may  have  been  a  not  uncommon  scene  in  one  of  the  Imperial  persecu- 
tions. So  far  as  we  can  judge,  from  the  position  allotted  to  the  work  (on  the  walls  of 
the  Academy),  it  is  most  carefully  drawn  and  worked  out,  and  the  sentiment  of  the 
occasion  —  grief,  almost  subdued  by  calm  exultation — truly  rendered.  This  picture 
would  be  well  suited  for  representation  in  fresco."  —  Palgrave's  Essays  on  Art. 

Armstead,  Henry  Hugh,  B.  A.  (Brit.)  Born  in  London,  1828. 
Besiding  in  London.  He  was  elected  a  full  member  of  the  Boyal 
Academy  in  1879.  Besides  having  furnished  occasional  designs  on 
wood,  for  book  illustrations,  he  is  by  profession  a  sculptor,  work- 
ing in  metal  and  stone.  Among  his  different  productions  may  be 
mentioned  the  "  St.  George  Vase,"  and  the  "  Parkington  Shield  "  and 
"  Outram  Shield,"  exhibited  at  the  Boyal  A  cademy  ;  mural  decorations 
in  relief,  for  St.  Mary's,  Cambridge  ;  "  Paul,"  "  David,"  and  "  Moses  " 
(in  marble),  for  the  reredos  of  Westminster  Abbey  ;  the  designs  illus- 
trative of  "  Applied  Mechanics  "  (in  mosaic)  forming  part  of  the  frieze 
of  the  Albert  Hall ;  "  Astronomy,"  "  Chemistry,"  "  Bhetoric,"  and 
*  Medicine"  (in  bronze),  and  the  allegorical  groups  (in  marble)  of 
s' Poetry,"  "Music,"  and  "  Painting,"  on  eight  of  the  sixteen  sides  of 


24       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  podium  of  the  Albert  Memorial  in  London,  besides  the  monument 
to  Frederick  Walker,  A.  R.  A.,  to  be  erected  in  Cookham  Church  ; 
bronze  statue  of  the  Earl  of  Pembroke,  for  Inner  Temple  Hall  ;  "  Re- 
ligion/' "  Philosophy,"  and  statue  of  "  Henry  VI."  (in  bronze),  parts 
of  a  fountain  in  King's  College,  Cambridge  ;  etc. 

"  No  small  share  of  the  sculptured  honors  of  the  year  are  due  to  Mr.  Armstead  for 
his  beautiful  and  carefully  studied  bronze  statues  for  King's  College,  Cambridge.  We 
noticed  these  statues  when  they  appeared  in  plaster,  but  fresh  praise  is  due  to  the 
artist  on  account  of  the  judgment  displayed  in  adapting  his  notions  for  expression  in 
bronze.  The  execution  and  fine  and  graceful  style  of  the  figures  will  be  appreciated  by 
all  who  know  the  canon  of  true  and  pure  sculpture."  —  London  Athenceum,  May,  1877. 

Armstrong,  Thomas.  (Brit.)  An  English  contemporary  figure- 
painter.  He  is  a  native  of  Manchester,  but  has  lived  in  London  for 
some  years.  He  studied  in  Paris  under  Ary  Scheffer.  Exhibits  fre- 
quently at  the  Royal  Academy,  sending  to  Grosvenor  Gallery,  in  1878, 
"  Three  Female  Figures  on  a  Marble  Seat,  with  Orange-Blossoms 
and  Marigolds,"  and  "  Ariadne  abandoned  by  Theseus."  He  has  sent 
to  the  Royal  Academy,  "  Poppies,"  "  A  Music  Piece,"  "  Winter,"  "  A 
Girl  watching  a  Tortoise,"  "  Feeding  Pigeons,"  etc. 

He  sent  to  the  Paris  Exposition  of  1878  "  A  Music  Piece." 

[No  response  to  circular.] 

"  Armstrong's  modern  range  of  decorative  motives,  as  well  as  the  quiet  and  almost 
Quakerish  harmony  of  his  favorite  combinations  in  color,  are  altogether  personal  to 
himself.  What  he  does  endeavor  is  to  make  every  .picture  a  careful  and  calculated  ob- 
ject of  satisfaction  for  the  eye,  in  the  arrangement  of  its  forms  and  colors,  neglecting  at 
the  same  time  no  material  fact  that  he  can  manage,  but  choosing  the  subdued  and  deli- 
cate dealings  of  nature  rather  than  those  which  thrust  discord  or  brandish  difficulties 
in  the  face  of  the  spectator."  —  Sidney-  Colvin,  in  English  Artists  of  the  Present  Day,  1872. 

Armstrong,  D.  Maitland.  (Am.)  A  native  of  Newburg,  N.  Y. 
He  graduated  at  Trinity  College,  Hartford,  studying  and  practicing 
law  in  New  York  for  some  time.  He  studied  painting  in  Rome  and 
under  Luc-Olivier  Merson  in  Paris,  spending  his  professional  life 
chiefly  in  Italy  and  New  York.  He  was  for  four  years  United  States 
Consul-General  for  Italy  at  Rome,  and  was  Director  of  the  American 
Art  Department  at  the  Paris  Exposition  of  1878,  receiving  the  decora- 
tion of  the  Legion  of  Honor.  He  has  been  a  member  of  the  Artists 
Fund  Society  of  New  York  for  a  number  of  years,  exhibiting  fre- 
quently at  the  Academy  of  Design,  New  York,  and  elsewhere  in  the 
United  States. 

To  the  Exhibition  at  Philadelphia,  in  1876,  he  sent  "  Twilight  on 
the  Tiber"  and  "  The  Column  of  St.  Mark's,  Venice." 

Artaria,  Mathias.  (Ger.)  Born  at  Manheim  about  1815. 
Studied  at  Diisseldorf,  and  settled  in  his  native  city.  Paints  histori- 
cal genre  subjects,  especially  those  connected  with  the  Tyrol,  such  as 
scenes  from  the  history  of  Andreas  Hofer.  Artaria  has  painted  some 
pictures  from  sketches  made  in  Spain. 

Artz,  Adolph.  A  Dutch  artist,  who  resides  at  The  Hague,  and 
paints  in  oil  and  water  colors.    Pupil  of  Mollinger.    His  subjects  are 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  25 


principally  scenes  from  rustic  life.  Of  "  No  Hope,"  exhibited  in 
Glasgow,  in  1874,  a  writer  in  the  Art  Journal  said  :  — 

"  It  is  a  touching  episode.  The  woman's  attitude  well  expresses  the  quick  pang  of 
despair  which  a  glance  at  the  hand  of  the  wasted  figure  on  the  bed  has  just  awakened." 

At  the  Glasgow  Fine  Art  Loan  Exhibition,  1878,  there  were 
three  pictures  by  this  artist, —  a  "Dutch  Interior/'  belonging  to  W.  L. 
Brown  ;  "  A  Mother  and  Child,"  belonging  to  J.  Napier  ;  and  "  The 
Fisherman's  Return,"  lent  by  John  Dansken. 

Aube,  Jean-Paul.  (Fr.)  Born  at  Longwy,  1837.  Medals  at 
the  Paris  Salons  of  1874  and  '76.  Pupil  of  Dantan  and  Duret.  At 
the  Salon  of  1878  he  exhibited  a  statue  (in  marble)  of  "Galatea"  ; 
in  1877,  a  fragment  of  a  group  (in  plaster)  called  "  Portraits  of  my 
Children,"  and  a  portrait  bust  (in  terra-cotta)  of  Mme.  A.  D.  ;  in 
1876,  a  statue  (in  plaster)  of  "Pygmalion";  in  1875,  a  group  in 
bronze,  "  The  Siren,"  purchased  by  the  Ministry  of  the  Fine  Arts,  and 
now  on  the  public  promenade  in  Montpellier ;  in  1874,  the  last-named 
group  (in  plaster),  when  he  received  his  first  medal  (second  class). 
Some  of  the  preceding  works,  with  a  bust  (plaster)  of  Count  Simeon, 
were  at  the  Paris  Exposition  of  1878.    A  French  critic  writes  :  "  P. 

Aube  is  a  very  great  artist.    He  has  as  much  talent  as  D  ,  but 

he  never  met  good  fortune."  Aube  is  one  of  the  sculptors  whom 
Bracquemond  has  had  the  wisdom  and  good  fortune,  to  employ  in  the 
making  of  the  Haviland  faience.  Aube  signs  with  his  full  name  the 
vases  which  he  models.  They  are  separately  modeled  a  la  main, 
and  never  molded. 

Aubert,  Jean -Ernest.  (Fr.)  Born  at  Paris,  1824.  Prix  de  Rome 
for  engraving,  1844  ;  medal,  third  class,  in  1857,  for  lithography,  and 
a  rappel  in  1859  ;  medal,  third  class,  in  1861,  for  painting,  and  sec- 
ond class  in  1878.  Aubert  entered  l'ljlcole  des  Beaux-Arts  in  1841  as 
a  pupil  of  Delaroche  and  Martinet.  He  remained  five  years  in  Italy, 
and  devoted  himself  to  engraving  until  1853,  when  he  took  up  lithog- 
raphy. He  made  several  good  copies  after  Raphael  in  water-colors. 
Among  his  lithographs  are,  "  The  Season  of  Butterflies  "  and  "  The 
Orphans,"  after  Hamon  ;  "  Galatea,"  after  Gleyre  ;  "  La  boutique  a 
quatre  sous,"  after  Hamon  ;  "  Palestrina,"  after  Heilbuth  ;  and  "  Cal- 
vary," after  Jobbe-Duval.  In  1877  he  exhibited  paintings  of  "  The 
Coining  Love"  and  "£cueils";  in  1875,  "At  the  Fountain";  in 
1872,  "The  Broken  Thread"  ;  in  1870,  "A  Young  Girl"  and  a  por- 
trait ;  in  1867,  "  The  Early  Breakfast"  ;  in  1865,  "Youth"  ;  in  1863, 
"The  Martyrs  under  Diocletian"  ;  in  1861,  "Confidence"  and  two 
portraits.  At  the  Latham  sale,  New  York,  1878,  "  Cutting  the  Thread 
of  his  Destiny"  (34  by  22)  sold  for  $  1,600.  At  the  Salon  of  1878 
he  exhibited  "  The  Lesson  in  Astronomy "  and  "  Love,  Merchant  of 
Mirrors,"  both  belonging  to  M.  Knoedler. 

Audubon,  John  James.  (Am.)  (1782-1851.)  Went  to  Paris 
in  1795  or  '96,  studying  under  David.  In  1798  he  settled  on  a 
2 


26       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


farm  in  Pennsylvania,  remaining  until  1810,  when  he  sailed  down  the 
Ohio  on  a  bird- sketching  expedition,  going  for  the  same  purpose  to 
Florida  in  1811,  and  continuing  these  trips  for  some  years,  making 
his  home  in  Philadelphia.  In  1826  he  went  to  Europe,  and  shortly 
after  began  the  issue  of  his  great  work,  "  The  Birds  of  America," 
which  was  completed  in  1839,  in  87  parts,  containing  448  plates, 
life-sized  and  colored  from  his  own  drawings.  His  "  Ornithological 
Biography"  was  published  also  in  1839.  The  next  year  he  returned 
finally  to  America.  In  1844  he  published  a  reduced  edition  of  his 
works.  Many  of  Audubon's  original  drawings  are  in  the  possession 
of  the  Historical  Society  of  New  York.  Two  of  his  pictures  in  oil 
belonging  to  Edward  Harris,  "  A  Covey  of  Blackcock  "  and  "  Canada 
Otter,"  were  at  the  Centennial  Exhibition  of  1876. 

Augur,  Hezekiah.  {Am.)  Born  in  New  Haven,  Ct.  (1791- 
1858).  He  was  a  graduate  of  Yale  College.  As  an  artist  he  was  en- 
tirely self- taught.  After  some  experience  in  business,  he  turned  his 
attention  to  art,  carving  first  in  wood  and  then  in  stone.  His  "Wash- 
ington," "Sappho,"  and  "Apollo"  attracted  much  attention  when 
first  made,  and  his  last  and  most  important  work,  "  Jephthah  and  his 
Daughter,"  in  the  Trumbull  Gallery  in  Yale,  has  been  highly  praised. 

Ayvasowsky,  John.  (Russian.)  Born  at  Theodosia  (Crimea), 
1817.  Chevalier  of  the  Legion  of  Honor.  Professor  at  the  Imperial 
Academy  of  St.  Petersburg,  and  at  Theodosia,  where  in  later  years 
he  has  resided.  Painter  to  the  Court.  Chevalier  of  the  Order  of  St. 
Anne  of  Russia  and  of  the  Order  of  the  Lion  (Netherlands).  Medal 
at  Philadelphia.  He  was  educated  at  the  Academy  of  St.  Petersburg, 
where  he  rapidly  advanced  until  he  was  esteemed  the  first  marine 
painter  in  Russia.  His  works  are  very  numerous,  and  usually  repre- 
sent naval  battles  famous  in  Russian  history,  or  marine  views  ;  they 
are  seen  in  all  Russian  collections.  At  the  Salon  of  1874  he  exhibited 
"  The  South  Coast  of  the  Crimea,"  "  Tempest  on  the  Black  Sea,"  and 
"Setting  Sun  in  the  Steppes  of  Southern  Russia"  ;  at  the  Exposition 
of  1867,  "  View  on  the  Coast  of  the  Crimea,"  etc.  This  painter  has 
also  sent  some  works  to  the  Exhibitions  of  the  Royal  Academy  in 
London. 

«  Perhaps  among  all  living  artists  in  Russia  the  most  famous,  the  most  notorious,  the 
most  successful  in  a  commercial  sense,  is  John  Ayvasowsky,  closely  identified  with  the 
Crimea.  Yet  his  landscapes  are  too  vague  and  decorative  to  pretend  to  local  truth. 
Ayvasowsky's  career  is  not  exceptional  ;  he  served  a  pupilage  in  the  Academy  of  St. 
Petersburg,  in  which  at  a  more  mature  age  he  became  a  professor.  Now  advanced  to 
his  fifty-sixth  year  he  finds  himself  court  painter  and  moreover  professor  in  Theodosia, 
the  ancient  Chersonesus  Taurica,  wherein  he  has  taken  up  his  residence.  Among  his 
best-known  pictures  is  a  landscape  of  the  neighboring  town  of  Kertch,  the  ancient  Greek 
city  which  yielded  the  vases,  gold  crowns,  and  other  treasures  now  transported  to  the 
Hermitage.  The  pictures  of  Ayvasowsky  are  so  numerous  and  in  art  quality  they  take 
so  wide  a  range  from  good  to  bad,  that  the  conclusion  seems  inevitable  that  the  painter 
is  a  trader  working  for  lucre.  His  monetary  success  has  been  great ;  it  used  to  be  said 
in  St.  Petersburg  that  he  lived  like  a  prince,  and  it  came  as  a  cheering  fact  that  Russia 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  27 


could  place  a  mere  landscape-painter  in  so  proud  a  position.  The  artist  is  most  prolific : 
I  have  known  an  incredible  number  of  his  landscapes  scattered  over  the  Hermitage,  the 
Academy,  the  Winter  Palace  in  St.  Petersburg  ;  also  I  have  found  his  works  in  Moscow  ; 
likewise,  as  a  matter  of  course,  in  divers  International  Exhibitions.  When  I  projected 
a  visit  for  art  purposes  to  Russia,  I  was  told  that,  at  all  events,  I  should  find  in  Professor 
Ayvasowsky  a  genius.  But  when  I  encountered  'The  Creation  of  the  World'  and  'The 
Deluge'  in  the  Hermitage,  I  knew  not  whether  to  pronounce  the  painter  a  genius  or  a 
madman.  ,To  compare,  as  some  have  done,  Ayvasowsky  with  Turner  would  be  an  in- 
finite injustice  to  Turner.  The  two  are  comparable  only  when  their  works  verge  on 
insanity.  Ayvasowsky  is  habitually  vaporous  and  inflammatory,  his  highly  colored 
landscapes  are  as  pyrotechnic  displays  at  the  Crystal  Palace  or  in  the  Surrey  Gardens  ; 
they  are  without  form,  detail,  or  nature.  Even  in  small  canvases,  where  there  can  be 
no  scope  for  imagination,  such  as  in  'A  Corsair  near  Mount  Athos,'  'A  View  on  the 
South  Coast  of  the  Crimea,'  and  'Carters  in  the  Crimea,'  severally  present  at  the  Inter- 
national Exhibition  of  1872,  the  artist  shows  supreme  disdain  for  truth.  And  yet  for 
each  of  these  insults  upon  nature  Ayvasowsky  presumes  to  ask  the  modest  sum  of  £  200. 
....  Yet  Ayvasowsky  is  interesting  as  a  phenomenon.  He  is  almost  the  only  Russian  art- 
ist endowed  with  imagination  or  with  a  sense  of  color.  His  landscapes  are  not  realities 
but  phantoms,  his  pictures  are  visions  ;  they  are  products  of  the  passionate  South,  and 
serve  to  prove  that  Russian  art,  like  the  Russian  climate,  comprises  contrasts  wide  as 
the  poles  asunder."  —  J.  Beavington  Atkinson,  An  Art  Tour  to  Northern  Capitals  of 
Europe,  1873. 

Azeglio,  Massimo  d\  (Ital.)  Born  at  Turin  (1798- 1866).  This 
painter  was  Prime  Minister  of  Sardinia  under  Victor  Emmanuel,  and 
was  distinguished  as  a  scholar  as  well  as  an  artist.  His  landscapes 
are  seen  in  the  Louvre,  in  the  Royal  Palace  of  Turin,  and  in  many 
other  places.  Many  of  his  pictures  remain  in  his  villa  upon  Lake 
Como.  The  "  Origin  of  the  Sforza  Family  "  is  one  of  his  best-known 
works.    He  became  celebrated  as  a  landscape-painter. 

Baader,  Louis  Marie.  (jFV.)  Born  at  Lannion.  Medals  in 
1866  and  '74.  Pupil  of  Yvon  and  l'l^cole  des  Beaux- Arts.  Exhibited 
at  Paris  Salon,  in  1877,  "  La  Cryptie  ;  An  Episode  of  the  Massacre 
of  the  Helots  "  ;  in  1876,  "  A  Fantasy  on  the  Hurdy-Gurdy  "  ;  in 
1875,  "  Remorse"  and  "  The  Brazier's  Ware  "  ;  in  1874,  "Posthumous 
Glory."  "  A  Woman  and  Dog  "  is  in  the  collection  of  Mrs.  H.  E. 
Maynard  of  Boston.  In  1878  Baader  exhibited  "  A  Mistake  ;  Jean- 
not  seeks  the  Kitchen,"  and  "  The  Mender  of  Faience,  —  Time  of 
Louis  XVI." 

Bacon,  Henry.  (Am.)  Born  at  Haverhill,  Mass.,  in  1839.  Dis- 
abled by  wounds  while  serving  in  the  13th  Regiment  Mass.  Volun- 
teers during  the  American  Civil  War,  he  went  to  Paris  to  stud}7  art, 
entering  1' Nicole  des  Beaux- Arts  in  1864,  and  becoming  also  a  pupil 
of  Cabanel.  In  1866  and  '67  he  studied  under  Edouard  Frere  at 
l^couen.  His  professional  life  has  generally  been  spent  in  Paris, 
where  he  still  resides.  Among  his  more  important  works  are,  "  Pay- 
ing the  Bill,"  at  the  Paris  Salon  in  1870 ;  "  Boston  Boys  and  General 
Gage,"  Salon  of  1875,  now  the  property  of  C.  R.  Rogers,  of  Phila- 
delphia ;  "  Franklin  at  Home,"  Salon  of  1876,  belonging  to  J.  B. 
Thomas,  of  Charlestown,  Mass.;  and  "  Les  Adieux,"  Salon  of  1878. 


28       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


His  "Boston  Boys  "was  at  the  Philadelphia  Exhibition  of  1876; 
"  Land !  Land  ! "  at  the  Paris  Exhibition  of  1878. 

"  The  only  important  pictorial  result  of  the  Centennial  mood  which  we  have  thus  far 
observed,  is  Mr.  Henry  Bacon's  large  and  effective  work,  based  on  the  homely  but  ex- 
cellent episode  of  the  Boston  Boys'  petition  to  General  Gage.  This  picture  is  a  very 
decided  gain  on  any  of  the  artist's  previous  performances,  and  equally  a  gain  to  the 
public.  We  do  not  at  the  moment  think  of  any  American  painter  so  well  qualified  by 
his  whole  tendency  as  Mr.  Bacon  to  attempt  the  reproduction  of  this  scene,  for  it  needs 
precisely  the  realistic  manner  which  he  has  for  so  long  a  time  and  so  consistently  been 
developing.    Moreover,  he  has  a  faculty  of  getting  color  out  of  themes  -that  apparently 

refuse  to  yield  color,  which  Avas  quite  essential  to  success  in  this  case  Much 

might  be  said  of  the  variety  of  good  manipulation  in  different  sections,  but  wehave  only 
space  enough  to  express  the  hope  that  this  honest  and  spirited  picture,  not  only  im- 
bued with  a  national  feeling,  and  valuable  for  its  local  historical  commemoration,  but 
also  as  an  excellent  work  of  art,  may  meet  with  generous  appreciation,  and  be  secured 
to  the  city  of  Boston  or  the  Museum  of  Fine  Arts."  —  Atlantic  Monthly,  April,  1876. 

Badin,  Jules.  (Fr.)  Born  at  Paris.  Medal  in  1877.  Pupil  of 
Cabanel  and  Baudry.  A  portrait-painter.  In  1877  exhibited  por- 
trait of  M.  E.  S.  and  portrait  of  Lilie. 

Bail,  Jean-Antoine.  (Fr.)  Born  at  Chasselay.  At  the  Salon 
of  1877  he  exhibited  "  At  the  Inn."  At  the  Salon  of  1874  was 
seen  his  "  Sunday  Morning  in  Auvergne,"  now  in  the  Corcoran  Gal- 
lery, Washington,  of  which  the  catalogue  says  :  — 

"  This  picture  of  the  interior  of  a  French  cottage  is  full  of  interest.  The  gladsome 
light  in  the  child's  eyes  as  her  mother  puts  the  last  pin  in  her  dress  ;  the  patient  atti- 
tude of  the  grandmother,  waiting,  prayer-book  in  hand ;  the  girl  descending  the  stairs, 
the  natural  air  of  the  old  woman  arranging  her  cap,  and  the  two  men  taking  a  cup  of 
wine  before  leaving  for  church,  are  all  told  with  marked  character." 

Bailly,  Antoine  Nicolas.  (Fr.)  Born  at  Paris,  1810.  Member 
of  the  Institute.  Officer  of  the  Legion  of  Honor.  He  was  appointed 
Architect  Inspector  of  the  city  of  Paris  in  1834.  He  was  employed  in 
finishing  the  Hotel  de  Ville,  and  improving  the  Fountain  of  Moliere. 
In  1844  he  was  made  Government  Architect,  and  was  charged  with 
the  dioceses  of  Bourges,  Valence,  and  Digne.  At  Digne  he  almost  en- 
tirely rebuilt  the  Cathedral.  At  Valence  he  reconstructed  the  tower  of 
the  Metropolitan  Church,  and  at  Bourges  he  restored  the  religious  edi- 
fice which  is  so  much  admired.  Bailly  was  then  made  chief  architect 
of  the  sixth  district,  of  the  works  in  repairs  in  Paris.  In  1860  he  be- 
came chief  architect  of  the  third  district,  and  was  charged  with  the 
reconstruction  of  the  Lycee  Saint-Louis,  the  erection  of  the  new  Tri- 
bunal of  Commerce,  and  some  buildings  for  the  new  mayoralty  of  the 
fourth  district.  In  his  private  profession  he  has  superintended  the 
building  of  the  Hotel  Schneider,  that  of  the  Prince  Montmorency- 
Luxembourg,  the  chateau  of  M.  Largorette  at  Choisy-le-Roi,  the 
restoration  of  the  chateaux  of  Cany  and  Theuville,  etc. 

Bailly,  Joseph  A.  (Am.)  A  native  of  France,  but  the  better  part 
of  his  professional  life  has  been  spent  in  the  city  of  Philadelphia.  He 
began  his  art  career  as  a  wood-carver,  and  was  very  successful  in  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  29 


branch.  He  turned  his  attention  to  sculpture  in  marble,  and  has  for 
some  years  been  Professor  in  the  Pennsylvania  Academy  of  Fine  Arts. 
Among  the  better  known  of  his  works  are  the  statue  of  Washington 
in  front  of  Independence  Hall,  Philadelphia  ;  the  colossal  statue  of 
Witherspoon  in  Fairmount  Park  ;  portrait  busts  of  Gen.  Grant,  Gen. 
Meade,  and  others ;  and  "  The  First  Prayer  "  and  "  Paradise  Lost," 
companion  groups  in  marble.    [Died,  1883.] 

To  the  Centennial  Exhibition  of  1876  he  contributed  an  equestrian 
statue  of  Antonio  Guzman  Blanco,  President  of  Venezuela,  and 
"  Spring,"  an  ideal  figure. 

Baily,  Edward  H.,  R.  A.  (Brit.)  Born  in  Bristol  (1788-1867). 
Son  of  a  ship-carver.  Brought  up  to  mercantile  pursuits,  but  began 
his  professional  career  in  his  native  town  as  a  modeler  in  wax  with 
considerable  success.  Going  to  London  in  1807,  he  became  a  pupil 
of  Flaxman,  and  of  the  Royal  Academy,  gaining  a  gold  medal  for  his 
"  Hercules  restoring  Alcestis  to  Admetus."  In  1810  he  executed 
"Eve  at  the  Fountain,"  followed  by  "Apollo  discharging  his  Ar- 
rows," "  Preparing  for  the  Bath,"  "  Eve  listening  to  the  Voice  of 
the  Tempter,"  "  The  Fatigued  Huntsman,"  "  The  Sleeping  Nymph," 
"  The  Graces,"  etc.  He  was  the  author  of  the  colossal  statue  of  Nel- 
son on  the  column  in  Trafalgar  Square,  of  statues  of  Sir  Robert  Peel 
and  Earl  Gray,  and  of  many  portrait  busts  and  statues  of  other  distin- 
guished men  of  Great  Britain.  He  was  a  member  of  the  Royal  Academy 
for  many  years,  and  was  placed  on  the  Honorary  Retired  List  in  1863. 

Baker,  George  A.,  N.  A.  (Am.)  Born  in  New  York,  1821.  He 
received  his  first  instruction  in  drawing  from  his  father,  an  artist  of 
considerable  merit,  studying  later  at  the  National  Academy.  His 
earlier  works  were  miniatures  upon  ivory.  He  has  devoted  himself 
particularly  to  portrait-painting,  his  favorite  subjects  being  ladies  and 
children.  His  professional  life  has  been  spent  in  his  native  city.  He 
went  to  Europe  in  1844,  studying  and  working  for  two  years  upon  the 
Continent.  He  was  elected  a  member  of  the  National  Academy  in  1851. 
His  portraits  command  high  prices,  and  in  his  particular  branch  of  his 
profession  he  is  without  a  rival  in  America.  Among  his  ideal  works 
are,  "  Love  at  First  Sight,"  "  Wild-Flowers,"  and  "  Children  of  the 
Wood,"  belonging  to  M.  O.  Roberts  ;  and  "  Faith  "  and  "  The  May 
Queen  "  in  the  Walters  Collection  of  Baltimore.  His  portraits,  gen- 
erally of  private  individuals,  are  in  private  galleries  throughout  the 
country.    [Died,  1880.] 

' '  Geo.  A.  Baker  is  highly  esteemed  for  his  portraiture  of  women  and  children.  There  is 
often  a  clear  and  vivid  flesh-tint,  a  grace  of  expression,  and  a  beautiful  refinement  in  his 
portraits  which  renders  them  at  once  attractive  and  authentic.  His  studio  is  rarely 
without  some  gem  of  color  and  expression."  —  Tuckerman's  Book  of  the  Artists. 

Baker,  William  H.  (Am.)  (1825-1875.)  Brought  up  to  mer- 
cantile pursuits  in  New  Orleans,  he  subsequently  studied  art  and 
painted  portraits  in  that  city  for  some  years.    Settled  in  New  York 


30       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


about  1865,  devoting  himself  to  the  painting  of  portraits  and  ideal 
subjects.  He  first  exhibited  at  the  National  Academy,  in  1866, 
"Cupid  Disarmed."  In  1869  he  sent  "A  Floral  Offering,"  and  in 
1871  "  Cupid  Reprimanded."  He  removed  to  Brooklyn  in  1869,  and 
assumed  control  of  the  schools  of  the  Brooklyn  Art  Association  in 
1871,  exhibiting  there,  in  1870,  "May-Flowers";  in  1871,  "Red 
Riding-Hood";  in  1872,  "  Morning-Glories,"  "Home  Regatta,"  and 
"  Cherry-Time  "  ;  in  1873,  "  Lilies  of  the  Field  ";  and  in  1875,  "  Tru- 
ants from  School." 

"  Mr.  Baker  never  aspired  to  greatness  as  an  artist,  but  he  was  painstaking  and  as 
conscientious  in  his  professional  duties  as  he  was  gentle  and  unassuming  in  his  private 
relations  of  life.  He  showed  conclusively  that  he  was  an  accomplished  teacher  as  well 
as  an  artist,  and  during  the  season  just  closed  the  work  produced  in  his  schools,  par- 
ticularly in  the  antique  class,  will  stand  the  test  of  comparison  with  that  of  any  insti- 
tution in  the  country."  —  Art  Journal,  July,  1875. 

Baker,  Miss  M.  K.  (Am.)  Native  of  New  Bedford,  Mass.  A 
young  artist  whose  aim  is  the  painting  of  figures  and  portraits,  and 
who  has  so  far  devoted  herself  to  the  representation  of  flowers  and 
still-life,  as  the  best  training  for  color.  She  resides  in  Boston,  but 
has  studied  in  no  school  of  art.  She  exhibits  at  the  Boston  Art  Club 
and  at  the  New  York  Academy  of  Design.  She  exhibited  "  Azaleas," 
at  Philadelphia,  in  1876. 

Bakker-Korff,  Alexandre-Hugo.  (Dutch.)  Born  at  The  Hague, 
1824.  Pupil  of  J.  E.  J.  Van  der  Berg.  At  the  Wilson  Exhibition  at 
Brussels,  in  1873,  there  was  a  picture  by  this  artist,  painted  in  1867, 
called  "  La  marchande  a  la  toilette,"  which  was  a  remarkable  work 
of  its  kind.    [Died,  1882.] 

Ball,  Thomas.  (Am.)  Born  at  Charlestown,  Mass.,  1819.  As  a 
young  man,  was  a  portrait-painter  in  Boston,  but  soon  devoted  himself 
to  sculpture,  among  his  first  works  being  a  small  bust  of  Jenny  Lind, 
then  at  the  height  of  her  fame  and  popularity  in  America,  and  a  life- 
sized  bust  of  Daniel  Webster.  Ball  studied  in  Europe  for  some  years, 
executing  there  "  Truth,"  "  Pandora,"  and  the  "  Shipwrecked  Sailor- 
Boy."  Returning  to  America,  he  made  busts  of  Rufus  Choate,  statu- 
ettes of  Webster  and  Clay,  and  the  equestrian  statue  of  Washington 
for  Boston.  He  went  again  to  Florence  in  1865.  Among  his  later 
works  are  the  statue  of  Edwin  Forrest  as  "  Coriolanus,"  eight  and  a 
half  feet  high,  purchased  by  Forrest  from  the  original  subscribers,  and 
placed  in  the  Actors'  Home,  near  Philadelphia  ;  the  statue  of  "  Eve," 
statuette  of  Lincoln,  bust  of  Edward  Everett,  in  the  Boston  Public 
Library ;  Webster,  Central  Park,  New  York  ;  "  Emancipation,"  Wash- 
ington, D.  C.  ;  Charles  Sumner  and  Josiah  Quincy  for  Boston. 

"The  spirited  equestrian  statue  of  Washington,  of  colossal  proportions,  destined  for 
the  city  of  Boston,  on  which  Ball  is  now  engaged,  is  creditable  to  him  from  a  realistic 
point  of  view,  but  fails  to  represent  the  '  Father  of  his  Country.'  He  has  made  him  a 
captain  of  dragoons."  —  Jakves,  Art  Idea. 

"  The  character  of  Mr.  Ball  is  modest  and  generous,  almost  to  a  fault.  Still,  while  he 
is  silent  about  himself,  his  works  are  speaking  for  him,  and  we  doubt  not  he  will  enjoy 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  31 


the  reputation  of  being  one  of  America's  eminent  sculptors.  That  he  has  genius,  all 
who  know  him,  or  have  seen  his  work,  will  acknowledge."  —  Tuckekman's  Book  of  the 
Artists. 

"  The  name  of  Thomas  Ball  has  acquired  celebrity  in  art  since  that  day,  but  the  statue 
of  Forrest  in  the  character  of  '  Coriolanus '  will  always  stand  as  a  proud  landmark  in  his 
sculptured  path  of  fame.  It  was  a  true  work  of  love  not  less  than  of  ambition  For- 
rest was  indeed  fortunate  in  the  peaceful  and  time-enduring  victory  achieved  for  him  by 
the  artist  in  the  sculptured  '  Coriolanus,'  whose  haughty  beauty  and  right  foot  insup- 
portably  advanced  with  the  planted  weight  of  all  imperious  Rome  will  speak  his  quality 
to  generations  yet  unborn."  —  Alger's  Life  of  Forrest. 

Ballu,  Theodore.  (Fr.)  Born  at  Paris,  1817.  Member  of  the 
Institute.  Officer  of  the  Legion  of  Honor.  In  1840  Ballu  took  the 
grand  prix  in  architecture  at  l'Ecole  des  Beaux- Arts.  His  first  appoint- 
ment was  that  of  Inspector  of  the  works  of  Sainte-Clotilde,  which  were 
then  conducted  by  Gau,  whom  Ballu  succeeded  in  1850.  He  finished 
the  new  church,  and  in  1852  was  charged  with  the  restoration  of  the 
tower  of  Saint- Jacques-la-Boucherie  ;  in  1858,  with  that  of  the  church 
of  Saint-Germain-l'Auxerrois.  He  has  since  built  the  church  of  the 
Trinity  and  that  of  Saint- Ambroise,  in  the  Boman  style.  In  1860 
Ballu  was  made  chief  architect  of  the  fourth  division  of  Paris,  and  a 
member  of  the  council  of  l'Ecole  des  Beaux- Arts. 

Baltard,  Victor.  (Fr.)  Born  in  Paris  (1805-1874).  Member 
of  the  Institute  and  Officer  Of  the  Legion  of  Honor.  Grand  prix  de 
Rome  in  1833.  On  his  return  from  Italy  he  was  made  Architect  of 
the  Government  and  of  the  city  of  Paris  ;  then  Director  Architect 
charged  with  the  superior  inspection  of  the  Beaux- Arts.  He  superin- 
tended the  restoration  and  decoration  of  the  churches  of  Saint-Ger- 
main-des-Pres,  Saint-Severin,  and  Saint-Eustache  ;  the  building  of  the 
new  church  of  Saint- Augustin  and  the  completion  of  the  new  Hotel  de 
Timbre.  With  Victor  Caller  he  directed  the  building  of  the  Halles 
Centrales.  Baltard  has  made  many  designs  for  books  concerning 
architecture,  historical  monuments,  etc.  He  has  continued  the  publi- 
cation of  the  "  Grands  prix  d'architecture,"  commenced  by  his  father  ; 
he  made  the  plates  for  a  splendid  monograph  upon  the  Villa  Medicis. 
One  of  his  last  works  was  the  design  for  the  magnificent  cradle  pre- 
sented to  the  Prince  Imperial  by  the  city  of  Paris. 

Baize,  Jean-Etienne-Paul.  (Fr.)  Born  at  Borne,  of  French  par- 
ents, 1815.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Ingres. 
After  his  studies  he  went  to  Italy,  where  he  received  commissions  for 
many  copies  of  large  works,  such  as  the  "  School  of  Athens,"  and  the 
allegorical  medallions  in  the  loggia  of  the  Vatican.  His  painting  of 
the  "  Stoning  of  St.  Stephen  "  was  purchased  by  the  government.  He 
has  been  employed  in  various  decorative  works  in  the  Louvre  and  at 
Versailles,  and  is  the  inventor  of  the  process  of  painting  on  enameled 
bricks.    [Died,  1884.] 

Baize,  Jean-Antoine-Raymond.  (Fr.)  Born  at  Rome,  1818. 
Brother  of  the  preceding  ;  also  pupil  of  Ingres,  whom  he  accompanied 


32       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


to  Rome.  He  assisted  his  brother  in  some  of  his  large  copies,  and  has 
painted  two  works  which  were  purchased  by  the  government,  "  Christ 
calming  the  Tempest "  and  the  "  Apotheosis  of  St.  Louis." 

Bamberger,  Fritz.  (Ger.)  Born  in  Wurzburg  (1814-  1874). 
Pupil  of  the  Academy  of  Berlin,  under  Gottfried  Schadow,  then  under 
W.  Kauser,  and  at  Cassel,  under  Primavesi.  At  Munich,  where  he 
finally  went,  he  found  such  influences  as  tended  to  unfold  his  talents, 
and  he  excelled  his  companions.  Ill  1845  he  visited  France,  and  made 
many  sketches  in  Normandy.  He  visited  England,  and  went  three 
times  to  Spain.  His  fine  picture  of  the  Alhambra  was  a  result  of  his 
last  visit  there,  in  1868,  when  he  was  sent  by  the  Grand  Duke  of 
Mecklenburg  Schwerin  for  study  in  the  South  of  Spain.  His  pictures 
of  the  Spanish  Islands  were  novel,  as  few  German  artists  had  sketched 
there,  and  they  were  much  admired.  The  continued  study  of  south- 
ern nature  so  affected  the  color  of  Bamberger  that  even  his  northern 
scenes  had  a  tone  of  violet  and  yellow.  The  criticisms  made  upon 
him  together  with  failing  health  so  discouraged  him  that  he  rigidly 
excluded  himself  from  the  world  until  his  death. 

Bandel,  Joseph  Ernst  von.  (Bavarian.)  Born  at  Anspach, 
(1800-1876).  This  sculptor  studied  at  the  Academy  of  Munich. 
Made  many  busts  and  some  monuments,  and  at  length  a  statue  of 
"  Charity,"  upon  which  he  spent  ten  years.  It  is  called  one  of  the 
finest  pieces  of  German  modern  sculpture.  The  chef-d'azuvre  of  this 
artist  is  the  monument  to  Hermann,  the  prince  of  the  ancient  CM- 
rusques  at  Detmold.  The  casting  is  eighty-five  feet  in  height.  He 
has  also  made  a  statue  of  "  Thusnelda,"  wife  of  Hermann,  chained 
and  led  as  a  prisoner  by  the  Romans.  Bandel  has  traveled  in  Italy, 
and  there  executed  several  portrait  busts.  This  sculptor  has  kept 
aloof  from  the  various  schools  of  art  which  exist  in  Germany. 

Banning,  William  J.  (Am.)  Born  at  Lyme,  Ct.  (1810- 1856). 
Pupil  of  the  National  Academy  under  Samuel  Waldo,  exhibiting  in 
its  gallery  in  1840  and  '41.  His  professional  life  was  spent  in  Con- 
necticut and  Long  Island.  His  specialty  was  portrait-painting.  His 
uneventful  career  was  creditable,  and  his  works  prove  that  he  was  a 
man  of  unusual  natural  ability  and  fine  feeling,  an  enthusiastic  and 
devoted  lover  of  his  art. 

Bannister,  E.  M.  (Am.)  Born  at  St.  Andrews,  N.  B.,  1833.  He 
studied  art  principally  in  Boston,  Mass.,  at  the  Lowell  Institute,  and 
under  Dr.  Rimmer,  spending  the  greater  part  of  his  professional  life 
in  that  city.  He  went  in  1871  to  Providence,  where  his  studio  now 
is.  He  has  been  a  regular  contributor  for  some  time  to  the  Exhibi- 
tions of  the  Boston  Art  Club.  His  most  important  work,  "  Under 
the  Oaks,"  was  at  the  Philadelphia  Centennial  Exhibition  of  1876. 
It  received  a  first-award  medal,  and  was  purchased  by  Mr.  John  Duff 
of  Boston.  Other  pictures  of  his  are  in  private  galleries  in  Boston, 
Providence,  and  elsewhere. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  33 


Barabas,  Nicolas.  (Hungarian.)  Born  at  Moldavia,  1810.  Mem- 
ber of  the  Academy  at  Pesth.  Studied  at  Vienna  and  traveled  in 
Italy.  Settled  at  Pesth,  where  he  has  succeeded  as  a  portrait-painter. 
He  made  the  designs  for  a  gallery  of  all  the  notables  of  Hungary, 
published  under  the  title  of  "  Divatlap."  Barabas  has  also  painted 
some  historical  subjects. 

Barabino,  Niccolo.  (Ital.)  Born  at  St.  Pier  d' Arena,  1833.  He 
studied  art  in  Florence,  where  he  painted  "  Consolation  for  the  Af- 
flicted," for  the  Hospital  of  Savona,  which  gave  him  reputation.  In 
1863  he  was  commissioned  to  fresco  the  nave  of  the  Cathedral  of 
Corte,  and  later  to  execute  the  decoration  of  the  ceilings  of  the 
church  of  his  native  city,  and  other  works  of  the  same  sort.  His 
"  Last  Moments  of  Boniface  VIII."  was  much  admired,  and  purchased 
by  Schmidt,  the  Turkish  Consul  at  Leghorn.  In  all  his  works  Bara- 
bino has  shown  a  fertility  of  invention,  correctness  in  drawing,  and 
strength  in  color.  His  skill  in  execution  and  his  good  taste  place 
him  among  the  first  painters  of  the  day. 

Baratta,  Francois.  (Ital.)  Born  at  Genoa  about  1805.  This 
artist  is  a  member  of  several  academies.  He  paints  historical  sub- 
jects. "Jacques  de  Vorragine  "  is  an  important  work  of  his,  and  rep- 
resents an  incident  in  the  war  of  the  Guelphs  and  Ghibellines. 

Baratta,  Eumene.  (Ital.)  Born  at  Carrara,  1825.  This  sculp- 
tor studied  at  the  Academy  of  Modena.  He  took  the  grand  prix  d& 
Rome  in  1842,  and  has  since  then  attracted  attention  to  his  works  in 
the  various  Italian  expositions.  One  of  his  principal  ones,  "  Sleeping 
Innocence,"  was  at  Paris  in  the  Exposition  of  1867.  At  Munich,  in 
1870,  he  exhibited  "  St.  Agnes." 

Barbee,  Herbert.  (Am.)  Son  of  William  R.  Barbee,  the  sculp- 
tor (now  deceased),  of  Virginia.  Herbert  Barbee  has  recently  re- 
turned to  America  from  Florence.  He  has  brought  a  second  copy  of 
the  famous  "  Fisher  Girl,"  belonging  to  Mrs.  A.  T.  Stewart.  The  first 
was  made  by  the  father ;  the  second  one,  as  well  as  a  bust  in  marble 
from  the  figure,  has  been  made  by  the  son. 

Barbetti,  Angelo.  (Ital.)  Born  at  Siena,  1803.  Medals  at 
Florence  and  London.  This  sculptor  in  wood  is  best  known  by  his 
beautiful  facades  of  the  Cathedrals  of  Siena  and  Orvieto,  which  are 
chefs-d'ceuvre  of  beauty  and  elegance. 

Barbier,  Nicolas- Alexandre.  (Fr.)  Born  at  Paris  (about  1800 - 
1865).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Leprince.  He 
painted  genre  subjects  and  landscapes. 

Barcaglia,  Donate.  (Ital.)  Of  Milan.  At  Philadelphia  this  sculp- 
tor exhibited  "  Fleeting  Time,"  "  The  First  Visit,"  "  The  First  Friend," 
and  "  Love  is  Blind,"  and  ■  received  a  medal.  His  statue  of  "  A 
Young  Girl  blinded  by  Cupid  "  took  the  first  prize  and  the  gold  medal 
at  Florence  in  1875.  He  received  a  medal  at  Vienna  in  1873,  and 
sent  to  the  Exposition  at  Paris,  in  1878,  two  ideal  statues. 
2  *  c 


34       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Barclay,  J.  M  (Brit.)  Born  in  Perth,  Scotland.  Member  of 
the  Royal  Scottish  Academy.  Barclay  resides  in  Edinburgh,  and  de- 
votes himself  to  portrait-painting,  his  subjects  being  generally  private 
individuals.  He  has,  however,  made  portraits  of  the  Marquis  of 
Lome,  the  Duke  of  Athol,  and  some  other  prominent  personages. 

Barker,  Thomas  Jones.  (Brit)  Born,  1815.  Son  of  Thomas 
Barker,  an  English  landscape-artist  of  some  note,  from  whom  he  re- 
ceived his  first  instructions  in  art.  At  the  age  of  nineteen  the  younger 
Barker  went  to  Paris,  and  entered  the  studio  of  Horace  Vernet,  where 
he  remained  for  some  time,  following  his  master  in  subject  and  style. 
He  first  exhibited  in  Paris  in  1835,  and  in  1836  received  from  the 
Salon  a  medal  of  the  third  class.  A  few  years  later  he  painted,  by 
order  of  Louis  Philippe,  "  The  Death  of  the  Grand  Monarch."  Among 
his  works  are,  "The  Meeting  of  Wellington  and  Blucher  on  the  Even- 
ing of  the  Battle  of  Waterloo,"  engraved  by  Chas.  G.  Lewis  ;  "  Wel- 
lington crossing  the  Pyrenees,"  "  Wellington  in  his  Private  Cabinet," 
"  Nelson's  Prayer  in  the  Cabin  of  the  Victory,"  "  Nelson  receiving  the 
Swords  of  the  Spanish  on  board  the  San  Josef,"  "  The  Secret  of  Eng- 
land's Greatness,"  "  The  Lesson  of  Humility,"  etc.,  many  of  which 
have  been  engraved.  Among  his  later  works,  exhibited  during  the 
last  ten  years,  may  be  mentioned,  "  Chevalier  Retreating,"  in  1867 ; 
14  Sunny  Hours  at  Sunnyside,"  in  1868  ;  "  Dean  Swift  and  Stella,"  in 
1869;  "A  Poacher's  Cottage  in  the  Olden  Time,"  in  1871  ;  "The 
Melee,"  in  1872  ;  "  Riderless  War-Horse,  after  the  Battle  of  Sedan," 
from  a  sketch  made  on  the  spot,  in  1873  ;  "Balaklava,  —  One  of  the 
Six  Hundred,"  in  1874  ;  "The  Return  through  the  Valley  of  Death," 
in  1876  :  all  in  the  Royal  Academy.    [Died,  1882.] 

Barlow,  Thomas  Oldham,  R.  A.  (Brit.)  Born  near  Manchester,. 
1824.  As  a  lad  he  was  apprenticed  to  a  firm  of  engravers  in  Man- 
chester, studying  in  the  School  of  Design  in  that  city.  He  settled 
in  London,  where  he  engraved  "Courtship,"  after  John  Phillip,  R.  A., 
and  many  other  works  of  that  artist,  including  his  "  Prison  Window," 
"  Spanish  Gypsy  Mother,"  "  Donna  Pepita,"  "  Prayer,"  and  the  por- 
traits of  Prince  Albert  and  of  Augustus  Egg.  He  has  also  engraved 
"  The  Mother  and  Child,"  after  Sant ;  Millais'  "Huguenot" ;  Wallis's 
"Death  of  Chatterton "  ;  Frith's  portrait  of  Dickens  ;  Sant's  "Queen, 
and  the  Children  of  the  Prince  of  Wales "  ;  Landseer's  "  Little 
Strollers,"  and  many  more.  He  was  elected  an  Associate  of  the  Royal 
Academy  in  1873.    [R.  A.,  in  1881.] 

Baron,  Henri-Charles-Antoine.  (Fr.)  Born  at  Besancon,  1817. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gigoux.  Made  his 
debut  at  the  Salon  of  1840.  He  paints  genre  subjects.  Among  his 
works  are,  "  A  Corner  of  a  Street  in  Catana,  Sicily,"  and  "  Harlequin's 
Tricks"  (1876),  "The  Old  Jester  of  His  Highness,"  "His  Eminence 
at  the  House  of  his  Nephews,"  and  "Playing  Bowls"  (1874),  etc. 
His  "  Harvest  in  Romagna"  (1855)  and  a  water-color  of  "  A  Fete  at 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  35 


the  Tuileries  during  the  Exposition  Universelle  of  1867  "  (Salon  of 
1868)  are  at  the  Luxembourg. 

Barre,  Jean  Auguste.  (Fr.)  Born  at  Paris,  1811.  Chevalier  of 
the  Legion  of  Honor.  Studied  sculpture  under  Cortot.  In  1874  he 
exhibited  at  the  Salon,  "  Berryer "  (statue,  bronze),  for  the  city  of 
Marseilles  ;  (marble  bust)  Mile.  Schneider,  actress  ;  and  a  portrait  of 
Mine.  H.  de  P.;  in  1873,  portrait  of  Mme.  la  Marquise  d'O.  (bust, 
marble)  ;  etc. 

Barrias,  Felix- Joseph.  (Fr.)  Born  at  Paris,  1822.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Leon  Cogniet.  In  1844  Barrias 
took  the  prix  de  Rome  for  his  picture  of  "  Cincinnatus  receiving 
the  Deputies  of  the  Senate."  In  1847  he  made  his  debut  at  the 
Salon,  and  has  continued  to  send  works  there  up  to  this  time.  In 
1877  he  exhibited  an  "Eve"  and  a  portrait;  in  1875,  "L'homme 
est  en  mer  !  "  (V.  Hugo,  la  Legends  des  Sticks)  ;  in  1873,  "Electra 
bearing  Libations  to  the  Tomb  of  her  Father"  and  "  Helen  placing 
herself  under  the  Protection  of  Vesta"  ;  in  1870,  "Luisa,  l'Alba- 
naise";  in  1866,  "  The  Eepose  ";  in  1864,  "An  Epistle  to  Augustus  ; 
Horace,  Augustus,  and  Maecenas  "  and  "  A  Dancer  of  the  Triclinium." 
Barrias  painted,  on  the  grand  staircase  of  the  Museum  at  Amiens,  a 
large  allegorical  picture  called  "La  Picardie."  His  "Exiles  under 
Tiberius  "  (1859)  is  in  the  Luxembourg.  He  also  made  the  designs 
for  the  lithographs  in  the  editions  of  the  works  of  Horace  and 
Virgil,  published  by  Didot.  This  painter  has  executed  frescos  in 
the  church  of  Saint-Eustache,  in  the  Grand  Hotel  du  Louvre,  and  in 
various  private  houses.  One  of  the  important  later  works  of  Barrias 
is  the  decoration  of  the  chapel  of  Sainte-Genevieve  in  TEglise  de  la 
Trinite,  at  Paris.  The  entire  story  of  the  saint  is  depicted.  Of  it  Roger 
Ballu  says  (in  the  "  Gazette  des  Beaux- Arts,"  February,  1878)  :  — 

"  In  short,  the  decoration  of  the  chapel  of  St.  Genevieve,  at  the  Trinity,  is  an  excellent 
work,  —  worthy  of  an  artist  who  is  always  distinguished  by  a  severe  execution,  a  happy 
imagination,  and  a  graceful  conception  of  the  whole  effect.  A  painter  of  style,  Felix 
Barrias  has  neither  the  solemnity  nor  the  coldness  of  those  who  usually  claim  this  title  ; 
very  careful  of  the  dignity  of  his  art,  in  these  times  of  easy  painting,  he  has  never  made 
a  compromise  with  the  taste  of  the  day,  and  for  this  reason,  in  every  essay  on  decora- 
tive art,  his  name  is  written  in  advance." 

In  1878  he  exhibited  "  The  Fairy  of  the  Pearls  "  and  a  "  Portrait 
of  Himself." 

Barrias,  Louis  Ernest.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Medal  of  Honor  at  the  Salon  of  1878,  where  he 
exhibited  a  group  in  plaster,  "  The  First  Funeral ;  Adam  and  Eve 
bearing  the  Body  of  Abel."  Barrias  is  a  pupil  of  Cavelier,  Jouffroy, 
and  L.  Cogniet.  At  the  Salon  of  1877  he  exhibited  two  portrait 
busts,  in  marble  ;  in  1876,  a  group  for  a  tomb,  in  marble  ;  in  1875, 
two  portrait  busts  ;  and  in  1874,  a  funeral  monument  having  five 
statues  —  one  in  marble  and  four  in  bronze. 


36       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Barry,  Edward  M.,  R.A.  (Brit.)  Born,  1830.  Son  of  Sir  Charles 
Barry,  an  eminent  architect,  whose  pupil  he  was,  and  whom  he  suc- 
ceeded in  1860  as  the  architect  of  the  English  Houses  of  Parliament  at 
Westminster,  completing  the  structures.  Among  the  better  known 
of  the  buildings  designed  by  Barry  are,  Covent  Garden  Theater,  in 
1857  ;  Charing  Cross  Hotel,  and  the  new  portion  of  the  National 
G-allery  in  London,  as  well  as  the  Star  and  Garter  at  Richmond,  Fitz- 
william  Museum  at  Cambridge,  and  many  other  important  buildings 
throughout  Great  Britain.  He  was  for  some  years  Vice-President  of 
the  Royal  Institution  of  British  Architects.  He  was  elected  Associate 
of  the  Royal  Academy  in  1861,  Academician  in  1870.  In  1873  he  was 
appointed  Professor  of  Architecture  to  the  Royal  Academy,  and  has  been 
Treasurer  and  Trustee  since  1874.    [Died,  1880.] 

Bartholdi,  Frederic  Auguste.  (Fr.)  Bom  at  Colmar,  1833. 
Chevalier  of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of 
Ary  Scheffer.  His  first  work  was  a  bas-relief  of  Francesca  da  Rimini, 
executed  in  1852.  Among  his  most  important  works  are,  "Le  Vigne- 
ron"  (1870);  " Vercingetorix"  and  "Lafayette"  (1872);  Monument  to 
Martin  Schongauer  at  Colmar  (1863)  ;  "  The  Lion  of  Belfort,"  and 
the  grand  American  monument,  now  in  process  of  execution.  At 
Philadelphia  he  exhibited  "  The  Young  Vine-Grower,"  "  Genie  Fu- 
nebre,"  "  Peace,"  and  "  Genius  in  the  Grasp  of  Misery "  ;  all  in 
bronze.  At  the  Salon  of  1878,  "The  Lion  of  Belfort"  (in  plaster), 
and  "  Gribeauval,"  a  statue  in  plaster  belonging  to  the  government. 

Bartholomew,  Wm.  Val.  (Brit.)  Born,  1799.  Appointed,  early 
in  her  reign,  "  Flower- Painter  in  Ordinary  to  Her  Majesty,"  and  hold- 
ing a  similar  position  to  the  late  Duchess  of  Kent.  He  has  been  for 
many  years  a  member  of  the  Society  of  Painters  in  Water-Colors, 
contributing  regularly  to  its  annual  exhibitions  flower-pieces,  with 
an  occasional  fruit  subject.  In  1875  he  sent  "  St.  George's  Chapel 
Window,  painted  on  the  Spot  in  1835."    [Died,  1879.] 

Bartholomew,  Anne  C.  (Brit.)  Wife  of  Valentine  Barthol- 
omew. Born  at  Norfolk  (1800-1862).  Painted  flowers  and  minia- 
tures. 

Bartholomew,  Edward  S.  (Am.)  Born  in  Connecticut  (1822- 
1858).  Displayed  a  taste  for  art  as  a  child,  but  did  not  begin  its  study 
until  somewhat  advanced  in  youth.  Was  in  the  Life  School  of  the 
National  Academy,  New  York,  for  a  year,  and  went  to  Italy,  settling  in 
Rome,  where  with  the  exception  of  an  occasional  visit  to  America  his 
professional  life  was  spent.  Among  his  works  are,  "  Blind  Homer  led 
by  his  Daughter,"  "Eve,"  "Sappho,"  "Campagna  Shepherd  Boy," 
«  Genius  of  Painting,"  "  Youth  and  Old  Age,"  "  Evening  Star,"  "  Eve 
Repentant,"  "  Washington,"  and  "  Flora."  A  large  collection  of  his 
figures  and  busts  are  in  the  Wadsworth  Gallery,  Hartford,  Ct.,  of 
which  institution  he  was  Curator  before  going  abroad  for  the  first 
time. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  37 


Bartlett,  Truman  H.  {Am.)  Bom  at  Dorset,  Vt.,  1835.  He 
studied  in  New  York  under  Robert  E.  Launitz,  monumental  sculptor, 
and  later  in  Paris,  Rome,  and  Perugia.  He  has  spent  his  professional 
life  in  New  Haven,  Hartford,  and  Waterbury,  Ct.,  and  in  New  York 
City.  Among  his  important  works  are,  "  The  Wounded  Drummer- 
Boy  "  and  the  Wells  statue  for  Bushnell  Park,  Hartford.  These  were 
exhibited  in  Paris,  and  were  both  cast  in  bronze,  each  in  one  piece, 
as  the  models  came  from  the  hands  of  the  sculptor.  At  Hartford  is 
also  the  "  Angel  of  Life  "  (Clark  family  monument).  His  "  Wisdom  " 
(Benedict  family  monument)  is  at  Waterbury  ;  the  Coffing  Memorial 
Vase  is  at  Salisbury,  Ct.  His  statuette  of  Lincoln  was  made  for 
Mitchell,  Vance  &  Co.  of  New  York.  All  the  above  works  are  in 
bronze. 

Bartolini,  Lorenzo.  {Ital.)  Born  at  Vernia,  Tuscany  (1777  — 
1850).  Correspondent  of  the  Institute  of  France.  Knight  of  the 
Legion  of  Honor.  Professor  of  Sculpture  in  the  Academy  of  Florence, 
and  member  of  twenty  Academies.  When  a  boy,  in  the  shop  of  his 
father,  who  was  a  blacksmith,  he  had  a  difficulty  with  a  workman,  on 
account  of  which  he  went  to  Florence.  There  he  was  employed  as  a 
cutter  of  alabaster,  and,  later,  in  Volterra  he  pursued  the  same  art, 
but  on  account  of  an  altercation  with  his  employer,  he  returned  to 
Florence,  where  the  Commandant  of  the  French  forces  enabled  him  to 
go  to  Paris,  there  to  pursue  his  work  in  alabaster.  Hard  as  he  was 
forced  to  work  while  at  Paris,  he,  nevertheless,  studied  continually. 
At  the  Academy  he  gained  the  second  prize  for  his  bas-relief  of 
"  Clobi  and  Bitone,"  which  attracted  much  attention.  He  received 
from  M.  Denon  a  commission  for  a  bust  of  Napoleon  ;  he  also  executed 
one  of  the  bas-reliefs  of  the  column  Vendome.  In  1808  Napoleon  sent 
Bartolini  to  Carrara  to  establish  a  school  for  sculpture,  where  he  re- 
mained until  the  fall  of  the  Empire.  He  then  established  himself  in 
a  studio  in  Florence.  He  is  considered  second  only  to  Canova  among 
the  sculptors  of  his  century.  Among  his  works  are,  "  Charity,"  a 
group  of  four  figures,  in  the  Pitti  Gallery,  Florence  ;  a  "  Bacchante," 
made  for  the  Duke  of  Devonshire  ;  "  Pyrrhus  precipitating  Astyanax 
from  the  High  Tower  of  Priam "  ;  a  colossal  statue  of  Napoleon, 
which  is  in  America  ;  and  the  tomb  of  Prince  Demidoff,  of  which  the 
groups  of  "  Charity  "  and  "  Mercy  "  were  executed  by  this  sculptor, 
and  the  remainder  from  his  designs,  finished  by  his  pupils.  Among 
his  portrait  busts  are  those  of  Mme.  de  Stael,  Byron,  Rossini,  Thiers, 
Liszt,  Cherubini,  Denon,  etc.  Bartolini  has  been  called  the  "  Prince 
of  modern  Sculptors." 

Barye,  Antoine  Louis.  {Ft.)  Born  at  Paris  (1795  - 1875).  Mem- 
ber of  the  Institute  and  Officer  of  the  Legion  of  Honor.  Sculptor  and 
artist  in  bronze.  In  early  life  he  was  an  apprentice  to  Fourier.  He 
afterwards  studied  modeling  with  Bozio  and  design  under  Gros.  His 
reputation  rests  upon  his  perfect  knowledge  of  the  material  and  work- 


B8       ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


manship  of  his  art.  He  sent  back  to  the  foundry  every  bronze  which 
he  felt  to  be  unworthy  of  his  signature,  and  put  the  final  touches  to 
every  work  that  left  his  studio.  He  was  famous  for  fifty  years,  and 
a  list  of  his  works  would  be  surprising  in  length.  His  statues  in  the 
Louvre  show  how  great  was  his  knowledge  of  the  human  form,  but 
he  preferred  animal  subjects.  He  executed  a  magnificent  table  for 
the  Duke  of  Orleans,  the  elephant  on  which  has  become  classic  in  rep- 
utation. Among  his  works  may  be  mentioned,  "  The  Tiger  devour- 
ing a  Crocodile,"  "  The  Bear-Fight,"  "  The  Lion  strangling  the  Boa- 
Constrictor,"  etc. 

His  "  Combat  of  the  Centaurs,"  a  large  group  (1850),  is  one  of  his 
most  important  works.  At  the  Luxembourg  are  his  "  Jaguar  devour- 
ing a  Hare,"  bronze  (1852),  and  twenty  pieces  in  bronze,  wax,  lead, 
and  plaster,  which  have  been  placed  there  since  his  death.  From 
1848  to  '51  he  was  Conservator  of  the  Gallery  of  Plasters  and  Director 
of  Castings  at  the  Louvre.  Personally,  Barye  was  brusque  in  his 
manner.  He  observed  closely  and  carefully,  but  said  little,  and  pos- 
sessed an  extraordinary  faculty  of  judging  men  at  first  sight.  He  re- 
ceived one  day  a  visit  from  a  wealthy  snob  who  wished  to  have  his 
bust  made,  and  was  particular  that  it  should  bear  his  signature  in 
full.  "  Impossible,"  said  Barye,  "  I  have  given  up  making  busts,  and 
devote  myself  entirely  to  animals.  I  cannot  accommodate  you.  Go 
to  Carrier-Belleuse  or  Carpeaux."  "  But,"'  insisted  the  man,  "  you 
know  I  have  plenty  of  money.  My  name  and  position  are  known, 
and  I  don't  mind  paying  a  good  price  for  what  I  want."  It  is  of  no 
consequence  to  me  how  much  money  you  have,"  said  Barye;  "  my  time 
now  is  occupied  with  beasts,  not  fools." 

At  the  Corcoran  Gallery,  Washington,  there  are  114  bronzes  by 
Barye,  the  largest  collection  of  his  works  in  any  country.  In  the 
same  gallery  are  two  water-colors  by  Barye,  and  in  the  Walters 
Gallery  at  Baltimore  are  seven  drawings  by  him,  of  which  the  Sun- 
day Bulletin,  February  12,  1876,  says  :  — 

"  We  may  say  that  those  seven  uncouth,  unreasonable,  and  eccentric  drawings  that 
are  signed  '  Barye  '  were  among  the  choicest  treasures  of  the  greatest  sculptor  of  animals 
that  the  world  has  known.  For  Barye  had  no  rivals  in  history  but  the  sculptors  of 
Nineveh,  and  the  makers  of  those  colossal  and  stately  images  of  ancient  Egypt  before 
which  our  modern  art  stands  silent  and  awe-stricken.  These  strange  drawings  were 
made  by  him  in  the  Jardin  des  Plantes,  and  were  in  a  measure  the  original  notes  from 
which  sprang  some  of  his  imperishable  bronzes." 

Barye,  Alfred.  (Fr.)  Born  at  Paris.  Son  and  pupil  of  the  pre- 
ceding. This  artist  executes  birds  in  bronze.  His  group  of  "  Fright, 
ened  Partridges  "  (1875)  is  well  known  as  a  fine  work  of  its  kind. 
He  very  rarely  exhibits  his  works. 

Barzaghi,  Francesco.  (Ital.)  Born  in  1839.  Studied  at  the 
Academy  of  Milan.  At  Milan  and  Bologna  he  received  two  gold  and 
twelve  silver  medals.  In  1857  the  Emperor  of  Austria  granted  him 
a  three  years'  pension  for  the  continuance  of  his  studies.    He  was 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  39 


knighted  by  the  King  of  Portugal  for  a  statue  of  Don  Pedro,  to  be 
erected  at  Lisbon.  He  has  also  been  decorated  and  knighted  by  the 
late  King  of  Italy.  In  1867  the  present  King  of  Italy  offered  a  prize 
of  4,000  francs  for  the  best  work  of  art.  Barzaghi's  "  Blind-Man's 
Buff"  (Mosca  Cieca)  took  the  prize  over  all  other  exhibits  of  sculpture 
and  painting.  Among  his  works  are,  "  Hercules  strangling  Antaeus," 
"  Silvia  at  the  Fountain,"  "  The  First  Lesson  in  Riding,"  "  Raffaelle," 
etc.  His  "  Presentation  of  the  Child  Moses  "  is  much  admired  in 
England  ;  it  was  bought  by  Sir  Dudley  Coutts  Majoribanks  from  the 
studio  of  the  artist.  At  Berlin,  in  1871,  he  exhibited  "  The  Fisher- 
Boy  "  ;  in  1876,  "  The  Child  Moses  "  (in  marble).  At  Philadelphia 
he  exhibited  "  Blind-Man's  Buff,"  "  Vanity,"  "  A  Young  Smoker,"  and 
"  The  Finding  of  Moses,"  and  received  a  medal. 

At  the  London  Academy  Exhibition,  in  1875,  he  exhibited  "  Blind- 
Man's  Buff"  and  "A  Bit  of  Vanity"  ;  in  1872,  "  My  First  Friend" 
(marble  statue),  and  "  Phryne  unrobed  before  her  Judges."  The 
"  Blind-Man's  Buff"  again  appeared  at  the  Paris  Salon  of  1877.  This 
sculptor  also  received  a  medal  at  Vienna  in  1873,  and  sent  to  the 
Paris  Exposition,  in  1878,  three  statues  and  one  group,  all  in  marble. 

Bastianini,  Giovanni.  (Ital.)  Born  at  Ponte  alia  Badia,  Fiesole 
(1830  -  1868).  He  commenced  life  as  a  stone-cutter  in  the  quarries 
near  Fiesole.  Here  the  Cavalier  Inghirami  of  Florence,  seeing  his 
ability,  took  him  in  charge,  and  he  was  instructed  in  drawing  and 
modeling  of  ornamental  work,  bas-relief,  and  small  figures.  Later, 
under  Fedi,  he  studied  the  rules  of  sculpture,  and  afterwards  under 
Torrini  became  familiar  with  the  art  of  the  cinque-cento.  His  copies 
of  the  great  masters  were  so  remarkable  as  to  be  taken  for  originals, 
and  their  authenticity  was  discussed  in  the  French  and  Italian  jour- 
nals. The  truth  was  not  known  until  after  the  death  of  Bastianini. 
When  he  was  twenty  years  old,  the  antiquary  Giovanni  Freppa 
offered  him  constant  employment  with  a  good  salary.  At  this  time 
he  copied  a  bas-relief  of  a  Holy  Family,  which  was  so  well  done  that 
it  passed  for  a  Verrocchio.  After  leaving  Freppa,  he  made  a  statuette 
of  Giovanni  delle  bande  Nere,  in  terra-cotta  (bought  by  a  Paris 
dealer) ;  and  a  bust  of  "  Savonarola,"  now  in  the  Museum  of  San 
Marco  at  Florence.  His  bust  of  the  cinque-cento  poet,  Girolamo 
Benevieni,  became  famous.  He  made  several  ideal  sculptures,  which 
were  bought  by  M.  Andree  of  Paris. 

"Ill-fated  Bastianini,  whose  countrymen  allowed  him  to  starve  on  the  wretched 
stipend  of  a  bric-a-brac  dealer,  until  they  awoke  to  his  merits  only  to  see  him  die,  was  a 
noteworthy  exception  to  the  general  want  of  original  talent  and  genuine  feeling  of  mod- 
ern Italian  sculptors.  The  authorities  of  the  Louvre  Gallery  have  borne  striking  testi- 
mony to  his  capacity  of  modeling  after  the  forcible  realistic  manner  of  the  school  of 
Donatello,  by  buying,  for  13,600  francs,  his  bust  of  the  Florentine  poet,  Jerome  Bene- 
vieni, who  flourished  in  the  fifteenth  century,  made  in  imitation  of  the  style  then  in 
vogue.  It  was  modeled  from  the  person  of  a  cigar-maker  dressed  in  the'  costume  of  the 
poet's  time,  and  sold  to  an  antiquary  for  360  francs,  who  resold  it  to  thi?  French  dealer 


40       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  whom  his  government  bought  it,  installing  it  among  the  genuine  works  of  Michael 
Angelo,  Settignano,  and  Cellini,  even  after  the  proofs  ol  the  imposition  were  given  to  the 
public.  Other  specimens  of  his  ability  to  recall  the  souvenirs  of  the  past  Italian  sculp- 
ture have  been  from  time  to  time,  through  no  connivance  of  his,  passed  off  as  genuine 
mediaeval  work."  — Jarves,  Art  Thoughts. 

Bastien-Lepage,  Jules.  (Fr.)  Born  at  Damvillers,  1850.  Medals 
in  1874  and  '75.  Pupil  of  Cabanel.  At  the  Paris  Salon  of  1877  he 
exhibited  a  portrait  of  Lady  L.  and  "  Mes  parents"  ;  in  1875,  "  The 
Communicant "  and  a  portrait ;  in  1874,  the  "  Song  of  Spring"  and 
a  portrait  of  "  Mon  grand-pere  "  ;  in  1878,  "  Les  foins"  and  a  portrait 
of  M.  Andre  Theuriet.    Medal  at  Paris  Exposition,  1878. 

Roger  Ballu  'praises  very  highly  the  picture  of  "  Les  foins  "  in  his 
article  upon  the  Salon  of  1878  in  the  "  Gazette  des  Beaux- Arts  "  of 
July  of  that  year.    Chevalier  of  the  Legion  of  Honor. 

Bates,  Dewey.  (Am.)  Born  at  Philadelphia,  1851.  He  went 
abroad  to  study  art  at  an  early  age,  entering  the  Royal  Academy  at 
Antwerp.  He  spent  some  years  in  Paris  in  the  School  of  Fine  Arts 
and  under  J.  L.  Gerome.  His  professional  home  at  present  is  in 
Philadelphia.  Among  the  better  known  of  his  pictures  are,  "  Dutch 
Comfort,"  exhibited  at  the  Society  of  British  Artists,  London,  in 
1875,  belonging  to  F.  James  of  Philadelphia  ;  "  Little  Jannetje,"  also 
exhibited  in  London  in  1875,  and  belonging  to  Mrs.  Landis  of  Indian- 
apolis, Ind.  ;  portrait  (half  length)  of  General  Pleasanton  ;  etc. 

"  It  is  a  simple  enough  little  picture  ['  Dutch  Comfort '],  a  couple  of  Dutch  girls  in  pic- 
turesque costume,  one  knitting,  the  other  with  great  contentment  eating  a  plate  of  soup, 
seated  by  a  table  in  a  quaint  Dutch  room,  a  fire  on  an  oxien  hearth  in  the  center  of  the 
floor,  in  the  background  a  shelf  covered  with  shining  delft,  and  on  the  right,  over  the 
table,  an  open  window  through  which  the  light  strikes  down  upon  the  figures  and 
brightens  the  whole  center  of  the  picture.  In  this  work  the  light  and  shade  are  admi- 
rably managed,  and  a  very  nice  feeling  for  color  is  displayed."  —  Philadelphia  Evening 
Bulletin,  September  22,  1877. 

Baudry,  Paul- Jacques- Aime.  (Fr.)  Born  at  la  Roche-sur-Yon, 
1828.  Member  of  the  Institute.  Commander  of  the  Legion  of  Honor. 
Pupil  of  Sartoris  at  la  Roche  and  of  Drolling  in  Paris,  where  he  was 
sent  with  a  pension  from  his  native  city.  He  gained  the  grand  prix 
de  Rome  in  1850.  In  1857  he  exhibited,  "St.  John  the  Baptist," 
bought  by  the  Empress  ;  "  Fortune  and  a  Child,"  now  in  the  Luxem- 
bourg ;  "Execution  of  a  Vestal,"  now  in  the  Museum  of  Lille  ;  "  Leda"  ; 
and  a  portrait  of  Beule.  These  works  were  favorably  received  by  the 
critics  and  the  public.  "  The  Pearl  and  the  Wave  "  (Persian  fable) 
(1863)  was  bought  by  the  Emperor.  "Charlotte  Corday"  (1861)  is 
at  the  Museum  of  Nantes.  We  have  a  list  of  nearly  200  works  by 
Baudry,  consequently  no  account  of  his  pictures  at  all  satisfactory  can 
be  given  here.  He  decorated  the  ceiling  of  the  grand  foyer  of  the  New 
Opera-House  in  Paris.  This  work  has  attracted  much  attention  from 
artists,  and  much  discussion  has  ensued  upon  its  merits.  His  decora- 
tive paintings  are  numerous,  and  are  illustrative  of  very  varied  subjects. 
The  portraits  by  Baudry  are  fine,    Baudry  has  won  many  medals. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  41 


"  The  solicitations  of  amateurs  and  merchants  have  pursued  him  with  no  success  since 
the  Exposition  of  1857  ;  he  has  never  wished  to  take  commissions.  The  world  has  no 
seductions  for  him ;  he  leaves  his  retreat  only  when  constrained  and  forced  to  do  so,  and 
yet  he  loves  good  company  and  holds  his  rank  in  it  better  than  any  one.  We  may  say 
that  the  distinctions  most  envjed  have  come  to  him  without  his  dreaming  of  them.  One 
day  while  he  was  resting  himself  and  running  through  Greece  and  Egypt,  he  was  made 
Commander  of  the  Legion  of  Honor.  Another  time  the  Academy  of  Fine  Arts  elected 
him  a  member  while  he  was  studying  I  know  not  what  old  master  in  Italy.  To  a 
friend  who  offered  him  the  hand  of  a  rich  heiress,  he  replied,  showing  his  atelier  encum- 
bered with  immense  picture-frames,  '  Where  can  I  take  time  to  marry  ?  And  am  I  not 
already  keeping  house  with  two  jealous  women,  Solitude  and  Painting  ? '  Behold  why 
he  has  remained  single !  In  revenge  he  has  found  time  to  marry  his  sisters  and  give 
them  dots,  and  to  educate  admirably  his  young  brother  and  godson,  Ambroise  Baudry, 
who  has  become  a  learned,  original,  and  bold  architect.  He  has  found  time  to  serve  as 
a  soldier,  in  1870,  with  the  infantry,  while  Ambroise  was  ....  under  fire  of  the  enemy. 
....  His  literary  education,  which  he  has  himself  acquired,  leaves  nothing  to  be  desired  ; 
he  has  the  style  of  a  professional  writer  with  a  turn  more  free  and  a  form  more  living ;  the 
eulogy  upon  Victor  Schnetz  which  he  pronounced  at  the  Academy  will  remain  a  model 
of  its  kind.  A  hundred  volumes  chosen  with  care  make  his  library ;  the  history  of 
France  occupies  at  least  half.  For  two  or  three  years  he  has  sought  documents  relative 
to  Jeanne  d'Arc,  whose  life  he  wishes  to  retrace  in  a  series  of  twelve  pictures.  He  has 
rented  for  this  purpose  a  large  atelier  in  the  street  Notre-Dame-des-Champs,  and  is  there 
comfortably  installed  for  the  first  time  in  his  life.  One  devoted  servant  composes  his 
household  ;  the  house  is  hospitable,  and  is  frequented  by  some  old  comrades.  The  least 
impressioniste  has  a  greater  train  than  this  undisputed  master  of  the  French  school.  Do 
you  wish  to  know  why?  Many  of  his  works  have  been  given  to  his  friends  ;  many  others, 
and  the  most  important  ones,  have  brought  him  ridiculous  prices.  I  believe  that  I 
remember  that  in  1874,  after  his  great  work  on  the  foyer  of  the  New  Opera,  Baudry  had 
6,000  francs  of  income.  This  is  the  moral  of  this  short  Biography."  —  About,  V Art,  1876. 

"  Baudry  and  his  class  are  a  revival  of  the  wide-spread  feeling  for  the  lascivious- 
pretty  of  the  Boucher  coterie  of  the  last  century,  with  greater  fascination  of  color  and 
style.    Wantonness  of  this  sort  is  far  from  being  eliminated.    Indeed,  it  bids  fair  at 

present,  by  a  revived  love  of  the  nude,  to  become  more  deleterious  than  ever  If 

the  whole  nude  is  done  like  Baudry's  silly  '  Diana,'  —  a  tempting  piece  of  flesh-tinting, 
—  the  goddess  of  chastity  is  rendered  with  her  divine  attribute  omitted,  and  trans- 
formed into  a  wanton  coquette."  —  Jarves,  Art  Thoughts. 

"We  have  seen  all  the  grand  decorative  paintings  executed  in  Europe  since  the  com- 
mencement of  this  century,  and  we  experience  a  sort  of  patriotic  pride  in  thinking  that 
none  can  bear  a  comparison  to  the  foyer  of  the  Opera.  A  country  which,  after  so  many 
misfortunes,  can  still  produce  such  works,  has  no  right  to  despair  of  the  future,  for  if 
art  is  not  a  force  in  itself,  it  is  assuredly  a  decisive  expression  of  the  vitality  and  intelli- 
gence of  a  nation.  The  French  school  will  count  henceforth  one  more  glory  :  M.  Baudry 
comes  to  take  the  first  place  among  contemporaneous  painters,  and  a  high  rank  among 
the  masters  of  all  times."  —  Rene  Menard,  Gazette  des  Beaux- Arts,  October,  1874. 

Baugniet,  Charles.  (Belgian.)  Born  at  Brussels,  1814.  Knight 
of  the  orders  of  Leopold,  of  La  Branche  Ernestine  de  Saxe ;  of  Christ, 
of  Portugal,  and  of  Isabella  the  Catholic,  of  Spain.  Pupil  of  Drolling 
and  Cabat.  This  artist  was  first  known  from  his  lithograph  portraits, 
of  which  he  made  more  than  3,000  in  Belgium  and  1,500  in  England. 
His  custom  was  to  draw  them  directly  from  nature  on  the  stone.  At 
length  he  went  to  Paris  and  commenced  the  painting  of  genre  subjects, 
in  which  art  he  has  for  some  years  maintained  a  good  position.  He 
is  better  known  in  France  and  England  than  in  his  own  country. 


42       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


At  the  Johnston  sale,  New  York,  in  1876,  "Lydia"  (6  by  4)  sold 
for  $  300,  and  "  Improving  the  Eyelids  "  (17  by  14),  for  $  800.  At 
the  Salon  of  1878  he  exhibited  "  The  First  Trouble  of  the  Heart."  In 
the  gallery  of  Mr.  T.  R.  Butler  of  New  York  are  his  "  Difficult  An- 
swer," "  The  Dead  Canary,"  and  "  Dressing  the  Bride."  At  the  Paris 
Exposition  of  1878  he  exhibited  "  The  Fourth  of  July,  1876,"  and 
"  Autumn." 

"  Baugniet  represents  French  girls  and  women  who  have  nothing  to  do  but  to  be  charm- 
ing, to  prepare  for  confirmation  in  the  church,  for  the  social  sacrifice  and  social  aggran- 
dizement that  are  illustrated  in  the  civil  and  religious  rites  of  marriage,  but  upon  whom 
the  disfiguring  blight  of  labor  never  falls.  He  represents  opulent  and  charming  women, 
—  women  who  live  in  voluptuousness,  and  talk  about  the  sentiment  of  the  heart,  but 
commonly  live  withdrawn  from  the  rudest  and  most  heroic  and  religious  experiences  of 
the  personal  life ;  who  belong  to  the  race  of  women  who,  in  France,  have  shown  them- 
selves capable  of  devotion  and  heroism  and  resolution  ;  who  have  shed  the  highest  glory 
upon  their  sex ;  who,  on  the  great  occasions  of  life,  have  not  been  less,  with  all  their 
charm,  than  the  more  reserved  and  austere  women  of  England  and  America.  Baugniet 
represents  Frenchwomen  in  the  agreeable  and  ordinary  but  luxurious  conditions  of 
home-life  in  France,  —  in  curtained  and  perfumed  boudoirs,  in  elegant  saloons  ;  he  grati- 
fies us,  but  does  not  exalt  us  with  such  subjects  ;  he  appeals  to  our  feelings  of  enjoy- 
ment and  our  taste  for  refinement ;  his  work  is  the  outcome  of  a  person  without  any 
deep  moral  sentiment,  and  who  seldom  if  ever  concerns  himself  with  what  has  made, 
what  makes,  the  glory  and  grandeur  of  our  race.  In  the  place  of  passion  fashionable 
society  substitutes  pleasure  ;  and  Baugniet  illustrates  it  in  his  pictures  ;  in  the  place  of 
labor,  a  worldly  and  fine  society  substitutes  amusement,  and  Baugniet's  works  show  us 
what  amusement.  His  beautiful  woman  painting  her  eyelids  before  the  mirror  of  an 
exquisite  sky-blue  toilet-table;  his  bride  being  adorned  for  the  sacrifice,  —  these  indicate 
his  tastes,  and  how  the  contemporary  Parisienne  prepares  for  the  social  world  in  which 
she  lives  and  moves  and  has  her  being.  His  pictures  are  remarkable  for  exquisite  finish, 
purity  of  tone,  and  admirable  rendering  of  the  texture  of  Silks  and  satins,  of  marble  and 
gold.  He  enjoys  painting  these  lovely  women  and  girls  in  opulent  nests  ;  his  sense  of 
art  is  satisfied  with  the  familiar  objects  of  the  life  of  elegance.  In  a  word,  he  is  an  ac- 
complished painter  of  women  of  the  world,  of  women  who  would  resent  a  breach  of  taste 
in  manners  more  than  a  breach  of  morals."  —  Eugene  Benson,  Art  Journal,  November 
13,  1869. 

Baur,  Albert.  (Ger.)  Professor  at  Diisseldorf.  At  the  Exposi- 
tion of  the  National  Academy  in  Berlin,  in  1876,  this  painter  exhibited 
"  An  Antique  Genre  Picture,"  "  Hunting  Amazons,"  and  "  Paul  preach- 
ing at  Rome  for  the  first  Time."  He  has  painted  "  The  Christian 
Martyr." 

Baxter,  Charles.  (Brit.)  Born  in  London,  1809.  Turned  his 
attention  at  an  early  age  to  the  painting  of  portraits  in  miniature  with 
success,  receiving  instruction  in  that  branch,  for  some  years,  under 
George  Clint.  Later,  he  devoted  himself  to  the  painting  of  ideal 
figures.  He  first  exhibited  at  the  Royal  Academy  in  1834,  and  after- 
wards regularly,  for  many  years,  sending,  among  others,  "  Love  Me, 
Love  my  Dog,"  "  Peasant-Girl  of  Chioggia  near  Venice,"  in  1869, 
and  "  Rich  and  Rare  were  the  Gems  she  wore,"  in  1872,  since  which 
his  works  have  not  appeared  in  that  gallery.  He  has  been  a  member 
of  the  Societv  of  British  Artists  for  thirty-five  years,  sending  to  its 
exhibitions  "The  Vicar's  Daughter,"  "The  Bouquet,"  a  The  Lily," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  43 


"  The  Dream  of  Love,"  "  The  Ballad,"  "  Smiling  Morn,"  "  Sunshine," 
"  Olivia,"  "  Little  Red  Riding-Hood,"  and  many  more.  [Died,  1879.] 
Baxter,  Elijah,  Jr.  {Am.)  Born  in  Hyannis,  Mass.,  1849. 
Studied  in  the  Antwerp  Academy  from  1871  to  '73,  since  which  he 
has  occupied  a  studio  in  Providence,  R.  I.  He  paints  chiefly  land- 
scapes with  figures,  and  occasional  fruit  and  flower  pieces.  He  ex- 
hibits at  the  Boston  Art  Club,  Academy  of  Design,  New  York,  and 
elsewhere. 

Bayard,  Emile.  (Fr.)  Born  at  Ferte-sous-Jouarre.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Cogniet.  At  the  Salon  of  1877  he 
exhibited  two  decorative  panels,  "  The  Bathers  "  and  "  Skaters  "  ;  in 
1876,  another  panel,  "A  Guinguette  of  the  Eighteenth  Century"  ; 
in  1875,  "The  Day  after  Waterloo  "  ;  in  1874,  "The  Narrow  Pass" 
and  "  During  the  Siege  of  Paris." 

Beard,  James  H.,  N.  A.  (Am.)  Born  in  Buffalo,  N.  Y.,  1814, 
and  carried  to  Ohio  when  still  a  child.  He  settled  in  Cincinnati, 
where  he  lived  and  painted  for  many  years.  In  the  early  part  of  his 
career  he  devoted  himself  almost  exclusively  to  portrait-painting, 
having  among  his  sitters  Henry  Clay  and  Presidents  John  Q.  Adams, 
Taylor,  and  Harrison.  He  went  to  New  York  in  1846,  and  was  one 
of  the  originators  and  charter  members  of  the  Century  Club.  In  1848 
he  was  made  an  honorary  member  of  the  New  York  Academy  of 
Design,  but  he  did  not  settle  permanently  in  New  York  until  1870. 
In  1872  he  was  elected  Academician.  Among  his  earlier  works  are, 
"The  Land  Speculator";  "The  Long  Bill";  and  "The  Carolina 
Emigrants,"  exhibited  at  the  National  Academy  in  1846,  and  sold  to 
George  W.  Austin  for  $  750,  the  largest  price  said  to  have  been  paid 
for  any  American  picture  up  to  that  time.  In  later  years  he  has 
turned  his  attention  chiefly  to  animal  painting,  with  decided  success. 
In  this  branch  he  has  painted,  "  Poor  Relations,"  one  of  his  earliest 
dog  pictures;  "  A  Peep  at  Growing  Danger"  (1871);  "The  Widow" 
(1872);  "The  Mutual  Friend"  and  "Parson's  Pets"  (1875); 
"Morning  Gossip,"  "  Though  Lost  to  Sight,  to  Memory  Dear,"  "  Tired 
Out,"  and  "  Wide  Awake,"  in  1876  ;  "  Blood  will  Tell  "  and  "  Con- 
sultation," in  1877  ;  "Don  Quixote  and  Sancho  Panza,"  in  1878. 

He  sent  to  the  Centennial  Exhibition,  in  1876,  "  The  Attorney 
and  his  Clients,"  commended  by  the  Judges,  "  Out  All  Night,"  and 
"  There 's  many  a  Slip,  etc."  His  "  Old  Browney  "  was  sold  in  Mr. 
Charles  A.  Lamont's  collection  in  1878. 

"  James  H.  Beard  is  seen  at  his  best  in  '  Our  Mutual  Friend'  [N.  A.,  1875],  a  subject 
worthy  of  his  pencil  and  tasteful  in  its  motive  The  group  is  spirited,  and  in  com- 
position and  finish  it  forms  a  striking  picture.  Mr.  Beard  has  been  styled  'The 
Landseer  of  America,'  and  if  he  may  be  judged  from  this  work  the  title  has  not  been 
misplaced."  —  Art  Journal,  May,  1875. 

Beard,  William  H.,  N.  A.  (Am.)  Born  in  Painesville,  Ohio. 
Younger  brother  of  James  H.  Beard.    He  began  his  professional 


44      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


career  as  a  traveling  portrait-painter,  when  twenty- one  years  of  age. 
In  1850  he  settled  in  Buffalo,  N.  Y.,  remaining  there  and  painting 
portraits  for  some  years.  About  1857  he  went  to  Europe,  studying 
and  practicing  his  art  for  a  year  or  two  in  Rome,  Switzerland,  and 
Diisseldorf.  Returning  to  America,  he  lived  for  a  short  period  in 
Buffalo,  finally  settling  in  New  York  in  1860.  Beard  was  made  a 
member  of  the  National  Academy  in  1862.  Like  his  brother,  he  has 
devoted  himself  in  later  years  to  animal  painting,  in  which  he  has 
been  very  successful-.  His  subjects  are  occasionally  allegorical,  as 
"  The  Guardian  of  the  Flag,"  one  of  his  earlier  works,  hut  usually 
quaintly  humorous  in  character.  He  humanizes  the  brute  creation  in 
a  cleverly  satirical  way,  as  in  his  "  Bear  on  a  Bender,"  "  Court  of  Jus- 
tice," and  other  works  in  a  similar  vein.  Among  his  well-known  pic- 
tures are,  "  The  Astronomers,"  "  The  Watchers,"  "  Bear's  Dance," 
"Raining  Cats  and  Dogs"  (1867)  ;  "Naughty  Cub,"  "Death  and 
Chivalry"  (1869);  "The  Bar-Room  Politicians"  (1870);  "Pets  on 
a  Spree"  (1871);  "Old  Time  Club  Life,"  "Hark!"  and  "The 
Wreckers"  (1874);  "The  Approach  of  Spring,"  "Oh  My!"  and 
"  Horse- Market  in  Brittany"  (1875)  ;  "Worn  Out"  (1876);  "The 
Eagle,"  "  Lo,  the  Poor  Indian,"  and  "  The  Dancing  Lesson  "  (1877)  ; 
"  Who  !  Who-o  !  "  "  How  d'  do,  Wabbit  ? "  and  "  Ain't  you  Ashamed 
of  Yourself?"  (1878).  His  "March  of  Silenus,"  belonging  to  the 
Buffalo  Fine  Art  Gallery,  and  "  Lo,  the  Poor  Indian,"  were  at  the 
Centennial  Exhibition  of  1876.  His  "  Gunmaker's  Dream"  and 
" Santa  Glaus"  belonged  to  John  Taylor  Johnston.  To  the  Paris 
Exposition  of  1878  he  sent  "  The  Wreckers."  His  "  Runaway  Match  " 
was  sold  in  the  Latham  Collection  in  New  York,  in  1878,  for  $525. 

"  Somewhat  in  the  vein  of  Kaulbach,  but  with  thoroughly  American,  humorous  traits, 
Beard  has  painted  what  an  art  student  calls  '  jokes  vital  with  merry  thought  and  healthy 
absurdity.'  His  '  Court  of  Justice/  wherein  all  parties  are  represented  by  monkeys,  is 
a  most  suggestive  satire,  and  his  '  Bear's  Dance  '  has  all  of  the  phases  of  a  ball-room, 
with  four-legged  humanity  to  emphasize  its  naturalness."  — Tuckerman's  Boole  of  the 
Artists. 

"We  have  in  Beard,  fresh  from  the  Western  wilderness,  an  artist  of  the  genuine 
American  stamp,  of  decided  originality  and  versatility.  He  paints  animals  from  the 
humorous  point  of  action,  passion,  and  sentiment.  With  him  humor  is  fine  art.  He 
has  an  exquisite  sense  of  the  ludicrous  and  sensuous.  His  brutes  are  four-legged  hu- 
manity.   In  his  own  vein  he  has  no  equal."  —  Jarves,  Art  Idea. 

Beard,  Harry.  (Am.)  Son  of  James  H.  Beard,  N.  A.,  occupying 
a  studio  with  his  father  in  New  York.  He  inherits  the  family  taste 
for  animal  painting,  and  has  exhibited  at  the  National  Academy  since 
1877,  when  he  sent  "  A  Group  of  Portraits,"  belonging  to  Tiffany. 
In  1878  he  exhibited  "Charles,  drive  me  to  Stewart's!"  At  the 
Mechanics'  Fair,  Boston,  1878,  he  exhibited  "  The  Young  Knight," 
and  "  Who  Boke  Dat,  Now  ? " 

Beaume,  Joseph.  (Fr.)  Born  at  Marseilles,  1798.  Chevalier  of 
the  Legion  of  Honor.    Pupil  of  Gros  at  Paris.    In  1819  he  exhibited 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  45 


"  Eleazer  and  Naphtali,"  now  at  Fontainebleau.  His  subjects  are  his- 
torical, genre,  marine,  and  portrait.  Between  1836  and  '43  Beaume 
was  much  occupied  in  painting  battle-scenes  for  the  Gallery  at  Ver- 
sailles, where  there  are  at  least  nine  such  works  of  his.  Since  1870 
all  his  pictures  at  the  salons  have  been  of  genre  character,  such  as  (in 
1877)  "The  Breakfast  of  the  Hunter"  and  "The  Mother  of  the 
Family/'  (in  1878)  "  Marguerite  "  and  "  Sancho  Panza." 

Beaumont,  Charles-Edouard  de.  (Fr.)  Born  at  Lannion. 
Medals  in  1870  and  '73.  Pupil  of  Boisselier.  At  the  Salon  of  1877 
he  exhibited  "  A  Nest  of  Sirens "  belonging  to  G.  H.  Warren  ;  in 
1873,  "  The  End  of  a  Song  "  and  "  Oil  diable  l'amour  va-t-il  se  nicher  ! " 
in  1870,  "Quserens  quern  devoret"  and  "  The  Women  are  Dear!" 
"  The  Part  of  the  Captain  "  (1868)  is  in  the  Luxembourg. 

Beauverie,  Charles  Joseph.  (Fr.)  Born  at  Lyons.  Medal  in 
1877.  Pupil  of  Gleyre  and  l'Ecole  des  Beaux- Arts  of  Lyons.  In  1877 
he  exhibited  at  the  Paris  Salon,  "  The  Rising  Moon,  in  Dauphiny," 
and  "  The  Valley  of  Amby,  Morning  "  ;  also,  four  etchings  of  land- 
scapes and  street- views. 

Beavis,  Richard.  (Brit.)  Born  at  Exmouth,  1824.  Entered  the 
Schools  of  Design,  Somerset  House,  London,  in  1846.  From  1850  to 
'63  he  was  in  the  employ  of  a  London  decorating  and  upholstering 
establishment,  his  designs  carrying  off  first-class  prizes  in  the  Inter- 
national Exhibitions  of  London  of  1851  and  '62,  and  that  of  Paris  in 
1855.  He  also  exhibited  at  the  Royal  Academy,  in  1855,  '58,  and 
'60,  clever  designs  for  painted  ceilings.  Among  his  pictures  sent  to 
the  Royal  Academy  are,  "  A  Mountain  Rill,"  in  1862  ;  "  In  North. 
Wales,"  in  1863  ;  "Escaped,"  in  1864  (engraved  for  the  Illustrated 
London  News)  ;  "  Drawing  Timber,"  in  1866  ;  "  High  Tide,  Mouth 
of  the  Maas,"  in  1868  ;  "  Hauling  up  a  Fishing-Boat,  Coast  of  Hol- 
land," in  1870  ;  "  Autumn  Plowing,  — Showery  Weather,"  in  1871 ; 
"  The  Sand  Coast,  Brittany,"  in  1872  ;  "  Ferry-Boat  in  Old  Holland," 
in  1874  ;  "  Bedouin  Caravan  "  and  "  Plowing  in  Lower  Egypt,"  in 
1876  ;  "  Threshing-Floor  at  Gilgal "  and  "  In  the  Forest  at  Fontaine- 
bleau," in  1877  ;  "  Halt  of  Prince  Charles  Edward  after  the  Battle  of 
Culloden,"  in  1878.  He  has  been  for  some  years  a  member  of  the 
Institute  of  Painters  in  Water-Colors,  contributing  regularly  to  its 
exhibitions. 

"  Beavis  is  an  artist  of  considerable  strength  in  oil  and  water  color."  —  Benjamin's 
Contemporary  Art  in  Europe. 

"  We  cannot  call  Beavis  a  disciple  of  any  particular  school,  nor  a  follower  of  any  spe- 
cial artist ;  he  is  a  close  and  diligent  student  of  Nature  alone,  and  works  out  his 
subjects  — and  they  are  varied  — with  taste,  judgment,  and  skillful  execution."  —  Art 
Journal,  April,  1877. 

Becker,  Jakob.  (Ger.)  Born  at  Dittelsheim,  1810.  Director  of 
the  Stadel  Institute  at  Frankfort.  Pupil  of  the  Diisseldorf  Academy. 
Genre  painter.  Some  of  his  earlier  works  represented  scenes  from 
mediaeval  times.    "A  Knight  and  his  Mistress"  was  much  admired. 


46       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


His  later  subjects  are  drawn  from  the  e very-day  life  around  him.  He 
has  freshness  of  feeling  and  brilliancy  of  execution.  His  water-colors 
are  numerous  and  excellent.  At  the  Johnston  sale,  New  York,  1876, 
"  The  Keaper's  Return  Home  "  (58  by  80),  from  the  old  Diisseldorf 
Gallery,  New  York,  sold  for  $  5,100.  At  the  Wolfe  sale,  New  York, 
1864,  "  Vintage  Fete  on  the  Rhine  "  sold  for  $  950. 

Becker,  Carl.  (Ger.)  Born  at  Berlin,  1820.  Member  and  Vice- 
President  of  the  Academy  of  Berlin.  Member  of  the  Academy  of 
Vienna  and  of  the  Royal  Society  of  Letters  and  Fine  Arts  of  Bel- 
gium. Officer  of  the  Order  of  Leopold.  Medals  at  Berlin,  Vienna, 
and  Munich,  and  still  other  honors  and  decorations.  Pupil  of  Berlin 
Academy,  of  Von  Klober,  of  Heinrich  Hess,  and  Cornelius.  At  Paris 
and  Rome  he  was  a  pensioner  of  the  Berlin  Academy.  He  settled  in 
Berlin,  but  has  made  various  visits  to  Italy,  Paris,  etc.  His  subjects 
are  from  the  times  of  the  Venetian  and  the  German  Renaissance.  His 
technique  is  skillful,  and  he  paints  magnificent  stuffs  with  success.  His 
"  Charles  V.  being  entertained  by  Fugger"  (1866)  is  in  the  National 
Gallery,  Berlin.  At  the  Berlin  Annual  Exhibition  in  1876  he  ex- 
hibited "  The  Emperor  Maximilian  crowning  Ulrich  von  Hutten  at 
Augsburg,"  now  in  the  WalrafF-Richartz  Museum  at  Cologne  ;  also 
"  The  Venetian  Girl "  and  "  Gratulantin,"  both  bought  by  Mr.  S.  P. 
Avery  of  New  York.  At  the  Latham  sale,  New  York,  1878,  "  The 
Promenade  "  (48  by  36)  sold  for  $  1,450.  "  The  Emperor  Maximilian 
receiving  the  Venetian  Embassy  "  (1877)  belongs  to  W.  Schaus,  New 
York. 

"  Carl  Becker,  who  for  a  time  successfully  followed  the  lead  of  the  Venetians,  has 
strayed  far  away  from  them.  Instead  of  gaining  in  clearness  and  depth,  he  has  lost 
himself  in  a  superficial,  decorative  mannerism  that  is  not  very  far  removed  from  carpet 
decoration."  —  Zeitschrift  fur  hildende  Kunst,  1876. 

"  Among  the  German  genre  painters  of  the  day  Carl  Becker  takes  a  distinguished  and 

distinct  position  His  talent  has  two  beautiful  and  unusual  peculiarities  ;  it  does 

not  allow  itself  to  be  turned  from  its  course  by  any  irritating  expressions  of  ill-will,  nor 
is  it  by  flattery  lulled  into  self-satisfaction  and  inaction  ;  he  works  on  unweariedly, 
with  a  desired  goal  ever  before  his  mind.  In  this  way  he  has  succeeded,  in  his  own 
manner,  in  accomplishing  unusual  things  ;  he  excites  popular  approbation  most  unex- 
pectedly, and  by  his  last  works  silences  the  voices  of  the  critics  and  disarms  his  oppo- 
nents."—  Ludwig  Pietsch,  in  the  Illustrirte  Zeitung,  1861. 

"  Richter  and  Becker  are  both  professors  and  fellows  of  the  Royal  Academy  of  Ber- 
lin, and  are  probably  among  the  German  artists  most  known  in  America,—  the  former  by 
the  chromos  of  his  paintings,  the  latter  by  works  in  private  galleries.  They  are  men  of 
very  decided  ability,  and  similar  in  artistic  traits,  although  generally  handling  different 
subjects  ;  they  deal  chiefly  with  the  dashing  and  more  obvious  effects  of  brilliant  com- 
binations of  color,  rather  than  with  the  more  subtle,  and  perhaps  intellectual,  harmonies 

of  quiet  grays  There  is,  however,  sometimes  perceptible  what  is  termed  a  certain 

'  sweetness '  in  the  style  of  both  these  artists,  which  is  not  quite  so  pleasing  to  the 
artistic  eye  of  some  as  more  vigorous  treatment,  and  one  soon  cloys  with  their  pictures 
because  of  a  certain  sensuousness  apparent  in  most  of  them."  — S.  G.  W.  Benjamin's 
Contemporary  Art  in  Europe. 

Becker,  Ludwig  Hugo.    (Ger.)    Born  at  Wesel  (1834-1868). 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  47 


Medal  at  Metz.  Studied  at  Diisseldorf  under  the  direction  of 
Schirmer.  In  1856  he  made  his  debut  before  the  public  with  his 
picture  of  "  A  Sacrifice  of  the  Ancient  Germans."  This  work  gained 
him  much  reputation.  His  "  Approaching  Storm,"  "  Sunday  Morn- 
ing," "  The  Washerwoman,"  etc.,  are  Westphalian  subjects.  All  his 
pictures  are  of  kindred  genre  motives. 

Becker,  Georges.  (Fr.)  Born  at  Paris.  Medals  at  Paris  in  1870 
and  '72,  and  at  Philadelphia  in  1876.  Pupil  of  Gerome.  At  the 
Salon  of  1877  he  exhibited  a  portrait  and  "St.  Joseph";  in  1875, 
"  Kizpah  protecting  the  Bodies  of  her  Sons  from  Birds  of  Prey  "  (also 
at  Philadelphia) ;  in  1872,  "  The  Widow  of  a  Martyr "  ;  in  1870, 
"  Orestes  and  the  Furies"  ;  in  1878,  two  portraits. 

"  In  a  grand  figure  of  a  woman,  which  is  less  a  portrait  than  a  study,  George  Becker, 
the  author  of '  Rizpah,'  has  shown  a  most  rare  gift  of  subjectivity.  He  has  painted 
not  only  one  woman  in  her  particular  individuality,  but  woman  in  one  of  her  general 
types.  She  is  standing,  full-face  ;  she  is  dressed  in  a  white  robe,  with  arms  and  neck 
very  much  exposed,  and  holds  in  her  hands,  crossed  below  the  waist,  a  pale  yellow 
scarf.  At  her  feet  is  a  rose-colored  carpet,  and  behind  her  fall  the  folds  of  a  heavy  cur- 
tain of  a  sea-green  tint.  Neither  the  costume  nor  the  decoration  belongs  to  any  epoch, 
but  this  woman  would  not  be  an  anachronism  in  any  time  or  in  any  country  where 
she  might  be  carried.  Ictinus  would  have  remarked  her  in  the  theory  of  the  Pana- 
thenean  Festivals,  and  would  have  asked  her  to  pose  for  one  of  the  Canephorse  of  the 
Erechtheon.  Caesar,  who  was,  it  is  said, '  the  husband  of  all  women,'  would  have  placed 
at  her  feet  one  of  those  hundreds  of  thousands  of  sesterces  which  he  had  brought  back 
from  his  pillages  of  the  Gauls.  A  Pacha  of  our  time  would  make  her  a  favorite  Sultana, 
and  at  Paris,  at  a  first  representation,  a  return  from  a  promenade,  or  an  official  ball,  one 
could  only  admire  her  majestic  and  serene  beauty,  her  statue-like  carriage,  her  marble 
impassibility  of  face.  After  praising  the  grand  effect  of  the  figure  we  must  praise  the 
original  coloring,  the  firm  modeling,  the  strong  relief  of  the  breast,  which  rises  and  falls 
beneath  the  corsage,  the  easy  play  of  the  arms,  and  the  elegance  of  the  hands,  which 
are  not  those  of  an  affected  woman."  —  Henry  Houssaye,  Revue  des  Deux  Mondes,  June, 
1877. 

"Very  small  and  very  sage  is  the  present  work  of  M.  Becker.  This  good  adopted 
father  gives  a  little  lesson  in  carpentry  to  the  little  Jesus,  a  charming  curly-headed  baby 
who  comes  from  the  Garden  of  the  Tuileries  of  Jerusalem,  and  seems  to  lend,  for  a 
quarter  of  an  hour,  an  obedient  attention  to  the  tactics  of  the  plomb  and  the  handling  of 
the  plane.  Sage  in  composition,  sage  in  color,  sage  in  design.  All  is  pretty,  all  makes  a 
plaything  in  this  missal  engraving,  where  the  taste  for  the  immense  betrays  itself  only  in 
the  nimbus  of  gold  of  the  Papa  and  that  of  the  Darling.  They  are  so  convenient,  these 
nimbuses.  So  much  the  less  to  paint,  so  much  the  less  to  think.  They  say  that  Becker 
missed  but  by  the  length  of  a  brush  the  prix  du  Salon."  —  Mario  Proth,  Voyage  au 
Pays  des  Peintres,  1877. 

Beckmann,  Karl.  (Ger.)  Born  at  Berlin  (1799-1859).  Pro- 
fessor of  Architecture  and  Perspective  at  Berlin  Academy.  Studied 
under  Wach.  Visited  Paris  and  Italy.  Painter  of  architecture  and 
landscape.  At  the  National  Gallery  of  Berlin  is  his  "Cloister  of 
Saint- Benedetto  near  Subiaco." 

Beckmann,  Wilhelm  Hermann  Robert  August.  (Ger.)  Born 
at  Diisseldorf,  1852.  Studied  at  the  Academy  of  his  native  city  and 
with  E.  Bendemann,  under  whom  he  executed  a  large  historical 


48        ARTISTS  OF  THE  NINETEENTH  CENTURY. 


picture,  "  The  Hussites  receiving  the  Sacrament  before  the  Battle," 
which  was  purchased  by  the  Westphalian  Art  Union.  At  the  Na- 
tional Gallery,  Berlin,  he  also  worked,  with  other  young  artists,  upon 
wall-paintings. 

Beckwith,  J.  Carroll.  (Am.)  Born  in  Missouri,  1852.  Living 
for  some  time  in  Paris,  he  has  studied  under  Carolus  Duran,  and  in 
the  School  of  Fine  Arts,  there,  under  Yvon,  receiving  several  Honor- 
able Mentions.  He  has  exhibited  at  the  Academy  of  Design,  New 
York,  "Judith"  and  portraits,  and  sent  to  the  Paris  Exposition  of 
1878  "  A  Portrait "  and  "  The  Falconer." 

Bedford,  J.  B.  (Brit.)  Born  in  Yorkshire,  1823.  He  was  a 
pupil  of  the  Royal  Academy,  spending  his  professional  life  chiefly  in 
London,  and  exhibiting  frequently  at  the  Royal  Academy  portraits, 
landscapes,  and  ideal  subjects.  Among  the  more  important  of  the 
latter  are,  "  Elijah  and  the  Widow,"  in  1862  ;  "  Hagar  and  Ishmael," 
in  1864  ;  "  Arthur  and  Morgan  de  Fay,"  in  1865  ;  "  Cordelia,"  in 
1873  ;  "Nathan  and  David,"  in  1875  ;  "Fair  Margaret,"  in  1878. 

"  Here  the  grouping  ['  Hagar  and  Ishmael ']  is  novel  and  striking ;  and  we  may  espe- 
cially commend  the  truthfulness  of  the  motif.  The  boy  is  so  eager  to  drink  that  he 
alarms  his  mother,  whose  arm  is  vainly  trying  to  restrain  the  wrathful  impatience  of  the 
young  savage.  This,  in  a  modest  way,  is  a  good  example  of  the  new  effects  which  a 
thoughtful  artist  may  find  in  an  old  theme."  —  Palgrave's  Essays  on  Art. 

Begas,  Karl.  (Ger.)  Born  near  Aix-la-Chapelle  (1794-1854). 
Professor  at  Berlin  Academy.  Court  Painter.  Grand  medal.  Stud- 
ied in  Paris  under  Gros.  Painted  historical  subjects.  Traveled  in 
Italy.  He  painted  altar-pieces  for  several  churches  at  Berlin,  and  one 
at  Landsberg.  At  the  National  Gallery  in  Berlin  are  his  "Tobias 
and  the  Angel,"  his  "  Portrait  of  Thorwaldsen,"  and  the  "  Mohren- 
Wasche." 

Begas,  Oskar.  (Ger.)  Born  at  Berlin,  1828.  Professor  and  mem- 
ber of  the  Berlin  Academy.  Commissioner  of  the  Museum  of  Berlin. 
Medals  at  Berlin  and  Dresden.  Son  and  pupil  of  his  father,  Karl 
Begas,  and  of  the  Berlin  Academy.  He  went  to  Rome,  and  visited 
France  and  England.  He  has  executed  frescos  in  several  cities  of 
Germany  and  Silesia.  There  is  much  variety  in  his  subjects.  At  the 
National  Gallery,  Berlin,  is  his  "  Italian  Peasants  gossiping  around  a 
Fountain"  (painted  in  Rome  in  1853).  At  the  Royal  Academy  Expo- 
sition, Berlin,  in  1876,  he  exhibited  "  Venus,"  two  portraits,  and  a 
landscape.    [Died,  1883.] 

Begas,  Reinhold.  (Ger.)  Born  at  Berlin,  1831.  Professor  in  the 
Art  School  at  Weimar,  1860-62.  Royal  Professor  at  the  Academy 
of  Berlin  and  head  of  a  large  studio  there.  Member  of  the  Academies 
of  Vienna  and  Munich.  Small  and  large  gold  medals  at  Berlin,  large 
gold  medal  at  Munich,  1870,  medal  at  Paris.  Studied  sculpture  at 
the  Academy  of  Berlin  and  in  the  studios  of  L.  Wichmann  and  Ranch. 
In  1856  went  to  Rome,  where  he  passed  three  years.   After  his  return 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  49 


his  model  for  "  Pan  comforting  the  Forsaken  Psyche "  won  much 
praise  at  Paris,  Brussels,  and  Berlin.  He  again  visited  Rome,  and 
after  returning  to  Berlin  received  the  important  commission  for  the 
Schiller  Monument.  In  the  National  Gallery  of  Berlin  is  his  portrait 
bust  of  L.  Wichmann  (in  marble)  and  a  statuette  of  Adolf  Menzel. 
At  Berlin,  in  1871,  he  exhibited  "Fliegenden  Buch-handler,"  which  was 
so  called  in  derision,  and  much  disappointed  his  admirers.  The  real* 
name  of  the  statue  was  "  Mercury."  In  1876  he  exhibited  "  The  Rape 
of  the  Sabines,"  a  portrait-bust  in  marble,  and  another  bust  in  plaster. 
Several  works  by  this  sculptor  were  seen  at  Paris  in  1878. 
Alfred  Woltmann  says  of  his  Schiller  monument  :  — 

"  He  need  not  fear  the  principle-preachers  of  the  Academy,  who,  no  doubt  to  this  day, 
criticise  him  because  he  follows  not  the  antique.  One  is  reminded  of  Goethe's  words, 
'  Seht  ihr  meine  Werke,  lernet  erst,  so  wollt'  er's  machen  ! ' 

"  It  stands  there  as  if  it  could  not  be  otherwise,  so  that  one  sees  not  all  the  labor  and 
the  constantly  renewed  struggle  of  its  production.  But  the  artist  is  fully  compensated 
for  all  that  he  has  endured  by  the  greatness  of  the  work,  which  is  one  of  the  most  impor- 
tant of  our  time,  hard  as  it  has  been  made  for  him  by  those  who  cannot  yet  comprehend 
that  an  artist  cannot  be  treated  like  an  ordinary  functionary,  and  that  artistic  things  will 
be  treated  artistically."  —  Zeitschrift  fiir  bildende  Kunst,  January,  1866. 

Begas,  Adelbert-Franz  Eugen.  (Ger.)  Born  at  Berlin,  1836. 
Pupil  of  the  Berlin  Academy  and  of  Bocklin  at  Weimar.  This 
painter  visited  Italy,  and  there  made  fine  copies  after  old  pictures. 
For  the  church  at  Nymptsch  he  painted  a  "  Crucifixion."  In  the 
National  Gallery,  Berlin,  is  a  "  Mother  and  Child."  At  the  Exposi- 
tion of  the  Royal  Academy,  Berlin  (1876),  he  exhibited  "A  Portrait " 
and  "A  Study." 

Behnes,  William.  (Brit)  (1801  -  1864.)  Between  1820,  when 
he  gained  the  silver  medal  at  the  Royal  Academy  for  the  best  model 
from  life,  and  1840,  he  executed  many  important  works  ;  among 
those  of  an  ideal  character,  "  Child  and  Dove  "  and  the  "  Seven  Ages 
of  Man  "  in  mezzo-rilievo.  He  made  busts  of  the  Queen,  then  Princess 
Victoria,  D'Orsay,  Peel,  Havelock,  and  others  ;  and  monuments  to 
Dr.  Bell  in  Westminster  Abbey,  Dr.  Babington  in  St.  Paul's  Cathe- 
dral, and  Colonel  Jones  in  Greenwich  Hospital  Chapel. 

"To  try  to  fix  Behnes'  position  in  English  sculpture,  except  in  a  rough  suggestive 
way,  would  be  impossible.  But  it  may  perhaps  be  said  that,  taking  1840  as  the  close  of 
his  most  successful  efforts,  his  were  the  best  series  of  busts  which  the  English  school 

had  produced  up  to  that  time  Behnes'  style  in  marble  might  be  characterized  as 

the  picturesque.  As  a  youth  he  practiced  drawing  with  such  assiduity  and  success  that 
a  series  which  he  executed  from  Raphael's  Vatican  frescos  drew  forth  the  most  emphatic 

praise  from  so  good  a  judge  of  this  branch  of  the  art  as  Sir  Benjamin  West  His 

fine  feeling  for  grace,  developed,  as  it  was  with  Flaxman,  by  constant  study  with  the 
pencil,  enables  Behnes  to  perceive  with  rare  success  that  leading  exigency  in  the  'round,' 
a  good  bounding  outline."  —  Palgrave's  Essays  on  Art. 

Bell,  Robert  Charles.  (Brit.)  Born  in  Scotland  (1806-1872). 
Was  apprenticed  to  Beugho,  the  engraver  of  the  familiar  portrait  of 
Robert  Burns,  studying  at  the  Trustees  Academy,  Edinburgh,  in  his 

3  D 


50      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


leisure  hours.  Among  his  best-known  plates  are  "The  Expected 
Penny,"  after  Fraser  ;  «  The  Duet,"  after  Etty  ;  "  The  Rush-Plaiters," 
after  Sir  George  Harvey  ;  and  "  The  Battle  of  Prestonpans,"  after 
Sir  W.  Allan,  his  last  work.  He  also  engraved  popular  portraits  of 
Prof.  Wilson  and  other  distinguished  Scotchmen. 

Bell,  John.  (Brit.)  Born  in  1811.  He  first  exhibited  at  the 
"Royal  Academy  in  1832,  "Girl  at  a  Brook";  "John  the  Baptist" 
and  "  Dorothea,"  in  1841 ;  "  Babes  in  the  Wood,"  "  Una  and  the 
Lion,"  "  The  Last  Kiss,"  and  "  Angel  of  the  Pillar,"  in  1844;  "Stat- 
ues from  the  Tales  of  the  Arabian  Nights,"  "  The  Cross  of  Prayer,"  in 
bas-relief,  "  The  Foot  of  the  Cross,"  and  "  The  Octoroon,"  in  1868  ; 
"  Imogen  entering  the  Cave,"  in  1869  ;  "  The  Dove's  Refuge,"  in 
1871  ;  "  Wellington  and  the  Scenes  of  his  Victories,"  in  1874  ;  "  The 
Friend  of  the  Family,"  in  1875  ;  and  "  Peace  contemplating  the  Map 
of  the  World,"  in  1876. 

His  "  Andromeda,"  in  bronze,  belongs  to  the  Queen  ;  with  his 
"  Eagle- Slayer,"  it  was  at  the  London  Exhibition  of  1851.  Among 
his  statues  are  those  of  Lord  Falkland  in  the  House  of  Parliament,  of 
James  Montgomery  at  Sheffield,  and  of  the  Earl  of  Clarendon  in  the 
Foreign  Office.  He  executed  the  Wellington  Monument  in  the  Guild 
Hall,  Guards  Memorial,  Waterloo  Place,  the  group  representing  the 
United  States  on  the  Prince  Consort  Memorial  at  Hyde  Park,  London, 
and  "  Armed  Science  "  at  Woolwich. 

Bellange,  Joseph  -  Louis  -  Hippolyte.  (Fr.)  Born  at  Paris 
(1800-1866).  Officer  of  the  Legion  of  Honor.  Pupil  of  Gros. 
Painter  of  battles  and  military  subjects.  Several  of  his  works  are  at 
the  Gallery  of  Versailles.  At  the  Leipsic  Museum  are  four  pictures 
by  Bellange.  After  his  death,  at  a  Paris  sale,  "  The  Guard  Dies,  but 
does  not  Surrender,"  his  last  and  one  of  his  best  works,  sold  for  £  438 ; 
"  The  Cuirassiers  at  Waterloo,"  for  £  409  ;  and  "  Combat  in  the  Streets 
of  Magenta,"  for  £  370. 

Bellanger,  Camille-Felix.  (Fr.)  Born  at  Paris.  Medal  in  1875. 
Pupil  of  Cabanel.  At  the  Salon  of  1877  he  exhibited  "  The  Angel  of 
the  Tomb"  and  a  "  Bacchante  " ;  in  1875,  "Abel,"  now  in  the  Luxem- 
bourg, and  a  portrait  of  Colonel  P. 

Bellay,  Faul-Alphonse.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Painter  and  engraver.  At  the  Salon  of  1876  he 
exhibited  two  engravings,  —  one  an  etching,  portrait  of  Baudry  ;  and 
the  other  done  with  the  burin,  portrait  of  Henriquel;  in  1872,  a  water- 
color,  "  An  Orange-Merchant." 

Bellel,  Jean-Joseph.  (Fr.)  Born  at  Paris,  1814.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Ouvrie.  Made  his  debut  at  the  Salon 
of  1836.  Passed  a  number  of  years  in  Italy.  At  the  Salon  of  1876 
he  exhibited  "  Arabs  seeking  an  Encampment "  and  the  "  Ravine  of 
Gironde,  near  Chateldon "  ;  in  1875,  "  Solitude,  Autumn,"  "  From 
Constantine  to  Bathna,"  "  Grand  Street  of  the  Bazaar  at  Constantine," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  51 


and  three  charcoal  sketches  ;  in  1874,  "  Environs  of  Allevard,"  "  Oasis 
near  Bouss&ada,"  and  two  water-colors  and  one  charcoal  sketch  ;  in 
1873,  "From  Boghar  to  Boussaada"  and  "View  near  Cassis";  in 
1870,  "  View  in  the  mountain  of  Lachaux."  In  the  Luxembourg  are 
his  painting  of  "Solitude"  (1863)  and  the  "Valley  of  Saint- Ame," 
charcoal  sketch.  At  Philadelphia  he  exhibited  several  works,  and 
received  a  medal.  At  the  Salon  of  1878  he  exhibited  "  Jesus  and  his 
Disciples  at  Emmaus  "  and  "  Near  Viviers." 

"Bellel  is  one  of  the  rare  landscape-painters  who  to-day  occupy  themselves  with  style, 
—  not  in  an  absolute  manner  like  Aligny,  but  in  the  wise  mode  of  Poussin,  he  chooses, 
he  composes,  he  modifies,  he  interprets,  regarding  always  his  model.  The  most  severe 
and  conscientious  studies  have  familiarized  him  with  the  varied  aspects  of  nature,  where 
he  seeks  the  elements  necessary  to  render  the  ideal  which  it  gives  him,  and  which  a 
simple  copy  of  a  site,  however  well  executed,  would  not  satisfy.  Without  doubt,  to  re- 
produce with  exactness  and  artlessness,  as  in  a  black  mirror,  a  bouquet  of  trees,  a  cot- 
tage, a  prairie,  a  river-bank,  is  a  work  with  which  one  may  be  content ;  many  have  done 
no  more  who  have  acquired  a  name  and  a  place  in  galleries.  However,  the  true  land- 
scape is  nature  more  than  the  man,  and  in  it  we  listen  not  to  the  little  figures  which  are 
introduced,  but  to  the  human  sentiment,  the  joy,  the  sadness,  the  revery,  the  love,  in 

a  word,  the  state  of  the  soul  of  the  artist  in  view  of  such  or  such  a  horizon  It  is 

known  that  Bellel  handles  the  charcoal  with  a  mastery  which  is  unrivaled,  ana*  that  he 
draws  from  this  means  so  simple,  some  effects  of  surprising  power."  —  Theophile  Gau- 
tier,  Abecedaire  du  Salon  de  1861. 

Belloc,  Jean  Hilaire.  (Fr.)  Born  at  Nantes  (1787-1866).  Officer 
of  the  Legion  of  Honor.  Pupil  of  Regnault  at  Paris.  He  was  first 
known  as  a  portrait-painter  of  repute.  He  executed  a  large  number 
of  full-length  portraits  for  the  Court,  the  Royal  Museum,  and  for  pri- 
vate persons.  After  the  revolution  of  1830  he  was  made  Director  of 
the  Special  Free  School  of  Drawing,  Sculpture,  and  Architecture.  He 
introduced  many  improvements,  such  as  a  course  of  instruction  in  his- 
torical ornament,  study  of  living  plants,  stump  drawing,  and  also 
added  evening  hours  of  study.  Among  his  portraits  may  be  men- 
tioned those  of  General  Drillon^at  Versailles,  Boissy-d'Anglas,  Duchess 
de  Berri,  Michelet,  etc. 

Bellows,  Albert  P.,  N.  A.  (Am.)  Born  at  Milford,  Mass.,  1830. 
Taken  as  a  child  to  Salem,  where  his  early  youth  was  spent.  He  en- 
tered the  office  of  an  architect  in  Boston  at  the  age  of  sixteen,  devot- 
ing some  years  to  the  study  of  that  branch  of  art,  but  finally  turning 
his  attention  to  painting,  for  which  he  had  a  decided  taste.  Going 
abroad,  he  studied  in  Paris,  and  in  the  Royal  Academy  at  Antwerp. 
For  some  years  he  has  had  a  studio  in  New  York,  spending  his  pro- 
fessional life  there  and  in  Boston,  besides  painting  in  England  and 
Wales.  He  was  elected  an  Associate  of  the  National  Academy  in 
1859,  Academician  in  1861.  He  was  one  of  the  early  members  of  the 
American  Society  of  Painters  in  Water-Colors,  and  in  1868  was  elected 
an  honorary  member  of  the  Royal  Belgian  Society  of  Water-Colorists, 
an  honor  which  requires  a  unanimous  vote  of  the  members  of  the 
institution,  and  which  is  rarely  bestowed  upon  foreigners.    Mr.  Bel- 


52       ARTISTS  OF  THE  NINETEENTH  CENTU11Y. 


lows*  early  works  were  of  a  genre  character,  including  "  The  First 
Pair  of  Boots,"  "The  Sorrows  of  Boyhood,"  "The  City  Cousins," 
"  The  Lost  Child,"  "  The  Approaching  Footsteps,"  etc.,  and  were 
generally  painted  in  oils.  He  first  turned  his  attention  to  the  use  of 
water-colors  while  in  Europe,  in  1865,  studying  chiefly  in  England, 
where  he  is  highly  regarded.  Among  his  later  pictures  (in  water- 
colors),  exhibited  from  time  to  time,  are,  "  Notch  at  Lancaster"  (1867), 
"Afternoon  in  Surrey"  (1868),  "Surrey  Byway,"  "Borders  of  the 
New  Forest,"  "The  Thames  at  Windsor,"  "After  the  Service," 
"  The  Dark  Entry,  Canterbury,"  "  The  Beaper's  Child,"  "  New  Eng- 
land Homestead,"  "Devonshire  Cottage,"  etc.  To  the  Exhibition 
at  Philadelphia,  in  1876,  he  sent  "  Sunday  in  Devonshire"  (in  oils) 
and  "  Study  of  a  Head,"  "  Autumn  Woods  "  and  "  Sunday  Afternoon 
in  New  England "  (in  water-colors),  the  last  belonging  to  H.  J.  Wel- 
ling. To  the  Paris  Exposition  of  1878  he  sent  "  New  England  Village 
School "  (in  oil)  and  "  New  England  Homestead "  (in  water-colors). 
His  "  Nook "  and  "  The  Willow  Wagon "  were  in  the  John  Taylor 
Johnston  Collection.  Samuel  V.  Wright  owns  his  "  Salem  Turn- 
pike "  ;  B.  M.  C.  Durfee,  "  The  Christening  Party  "  ;  H.  D.  Polhemus, 
"  Coasting  in  New  England  " ;  and  J.  H.  Clement,  of  Boston,  "  Sun- 
day in  Devonshire  "  (water-color).  A  large  pure  line-engraving  (16 
by  28)  of  "  The  Village  Elms,"  by  Bellows,  is  now  in  press.  It  is  the 
tenth  steel  or  copperplate  engraving  from  his  pictures.    [Died,  1883.] 

"Bellows  soon  acquired  considerable  technical  dexterity,  and  has  shown  a  special 
talent  for  a  vein  of  genre  art  which,  from  the  familiarity  of  the  subjects,  and  the  simple, 

natural  expression,  wins  and  retains  popular  sympathy  Bellows  often  puts  forth 

graphic  and  pleasant  woodland  scenes  :  his  '  By-Path,'  formerly  in  the  Wright  Collec- 
tion, is  a  good  specimen,  and  so  is  one  of  his  late  pictures,  'A  Day  in  the  Woods,'  with 
a  roaming  youthful  party."  —  Tuckerman's  Book  of  the  Artists,  1867. 

" '  The  Home  Ferry,'  a  study  in  Surrey,  England,  by  A.  F.  Bellows,  is  full  of  deli- 
cious sentiment.  The  verdure,  the  sky,  and  the  atmosphere  are  unmistakably  English. 
The  unrippled  river,  with  its  deep,  cool  shadows^  the  low  cottage,  mossy,  half  hidden  ; 
the  handsome,  lazy  cattle  ;  in  fact,  every  detail  and  the  whole  effect  are  charming,  and 
produce  the  feeling  of  a  tender  poem."  —  Boston  Advertiser. 

"  The  stretch  of  cool,  transparent  water  in  the  foreground,  and  the  bit  of  blue  sky 
which  shows  above  the  house-tops  in  the  distance,  together  with  the  sparkling  effect 
of  light  and  shade  which  intervenes  along  the  shaded  lane  [in  '  Byways  near  Torquay '], 

will  be  appreciated  by  all,  as  beautiful  in  the  composition  There  are  but  few 

American  artists  whose  works  are  more  popular  than  those  of  Mr.  Bellows,  and  this  is 
due  not  only  to  the  taste  shown  in  the  selection  of  subjects,  but  also  to  their  artistic 
treatment."  —  Art  Journal,  April,  1875. 

"  Bellows'  soft  river-banks,  his  trees  trembling  with  light,  and  the  quiet  skies  of  sum- 
mer, have  long  made  his  paintings  loved,  and  they  have  also  served  to  develop  the  taste 
for  water-colors  among  us."  —  Art  Journal,  March,  1877. 

Bellucci,  Giuseppe.  (Ital.)  Born  at  Florence,  1827.  Professor 
in  the  Academy  of  Fine  Arts  of  Florence.  Knight  of  the  Order  of 
Saints  Maurice  and  Lazarus.  Pupil  of  Bezzuoli  and  Pollastrini.  His 
subjects  are  historical.  During  the  war  of  1848  Belluni  served  as  a 
volunteer.    His  "  Hagar  "  was  one  of  the  first  pictures  which  attracted 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  53 


attention  to  him.  That  of  "  Paul  before  Poppsea  "  was  enthusiastically 
received,  and  engravings  were  made  after  it.  The  "  Death  of  Alessan- 
dro  de  Medici  "  was  bought  by  Prince  Humbert  (now  King  of  Italy). 
For  Victor  Emmanuel  he  painted  "Emmanuel  Philibert  arranging 
an  Alliance  against  Austria  between  the  House  of  Savoy  and  the 
King  of  France."  This  picture,  when  exhibited,  attracted  much  at- 
tention, and  for  it  the  King  knighted  him.  His  last  work,  painted 
for  Count  Laderell  of  Florence,  is  "  The  Recognition  of  the  Body  of 
Manfred." 

Belly,  Leon-Auguste-Adolphe.  (Fr.)  Born  at  St.  Omer 
(1828-1877).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Troyon 
and  T.  Rousseau.  Paints  Oriental  subjects  and  portraits.  In  1877 
he  exhibited  "  The  Ford  of  Montboulan,  in  Sologne "  ;  in  1874, 
"Banks  of  the  Sauldre,  in  Winter,"  "The  Pool  of  the  Fairies,"  "For- 
est of  Fontainebleau,"  and  the  "  Ruins  of  Baalbec  "  ;  in  1869,  u  The 
Canal  of  Mamoudieh,  at  Alexandria";  in  1868,  "The  Nile  near 
Rosetta"  ;  in  1865,  "Fellahs  tracking  a  Dahabieh"  ;  in  1861,  "Pil- 
grims going  to  Mecca,"  now  in  the  Luxembourg  ;  etc. 

"  Superior  as  a  painter  to  Fromentin,  and  inferior  only  to  Delacroix,  equal  to  the 
best  pupils  of  Rousseau,  and  often  worthy  of  his  master,  Leon  Belly  is  not  only,  as  one 
has  said,  one  of  the  first  among  the  seconds,  he  is  one  of  the  seconds  among  the  first. 
In  whatever  genre  he  has  tried  his  talent,  and  these  genres  are  very  varied,  he  has 
always  been  equal  to  himself,  because  he  has  always  been  sincere.  There  is  no  other 
secret  in  art.  The  more  he  advanced  in  practice,  the  more  he  gained  by  experience,  the 
more  he  freed  himself  from  the  defects  of  his  nature  ;  his  touch  became  lighter  while  it 
lost  none  of  its  vigor  ;  there  was  no  farther  need  for  him  to  sacrifice  elegance  to  exact- 
ness His  works  are  charming  without  ceasing  to  be  learned.  They  emanate  from 

a  very  distinguished  and  cultivated  mind  He  is  of  good  school ;  his  touch  is  solid, 

sincere,  true  as  the  sight  which  it  translates ;  his  pate  is  fresh,  his  modeling  expres- 
sive. Behold  the  qualities  loved  by  amateurs.''  —  Emile  Bergebat,  Journal  Officiel, 
August  15,  1877. 

Benczur,  Julius.  (Munich.)  At  the  Johnston  sale,  New  York, 
in  1876,  his  picture  of  the  "Arrest  of  Franz  Rakoczy,  Prince  of 
Hungary,  1701"  (46  by  62)  sold  for  $3,750.  At  the  Royal  Acad- 
emy, London,  in  1874,  he  exhibited  "  In  the  Forest." 

Bendemann,  Eduard.  (Ger.)  Born  at  Berlin,  1811.  Member  of 
the  Academies  of  Berlin,  Cassel,  Stockholm,  and  several  others.  At 
one  time  Director  of  the  Academy  at  Diisseldorf.  Knight  of  the 
Royal  Saxon  Order  of  Civil  Merit,  of  the  Prussian  Order  of  the  Red 
Eagle  (fourth  class),  and  of  the  Belgian  Order  of  Leopold.  Medals  at 
Paris  and  Vienna.  Pupil  of  the  Academy  of  Diisseldorf,  under 
Schadow.  On  his  return  from  Italy,  in  1832,  he  exhibited  his  great 
picture  of  the  "  Sorrowing  Jews,"  now  at  the  MuseUm  of  Cologne. 
It  was  engraved  by  Ruscheweyh,  and  lithographed  by  Weiss  and 
Schreiner.  In  1833  he  painted  a  genre  subject,  "  Girls  at  a  Foun- 
tain," purchased  by  the  Society  of  Arts  in  Westphalia,  and  engraved 
by  Felsing.  At  Paris,  in  1837,  his  large  picture  of  "  Jeremiah  on 
the  Ruins  of  Jerusalem,"  now  in  the  National  Gallery,  Berlin,  took  a 


54       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


medal  of  the  first  class.  This  was  lithographed  by  Weiss.  Bende- 
niann  was  made  Professor  at  the  Academy  of  Dresden,  and  Member 
of  the  Academic  Council.  He  was  also  commissioned  by  the  King  of 
Saxony  to  decorate  the  Royal  Castle,  and  the  frescos  executed  there 
have  given  him  his  greatest  fame.  A  description  of  them  would  re- 
quire too  much  space  here,  but  there  are  religious,  historical,  alle- 
gorical, poetical,  legendary,  and  mythological  subjects,  as  well  as  por- 
traits. These  works  show  forth  the  versatility  of  this  painter  in  a 
remarkable  manner.  In  his  own  house  in  Berlin  he  has  painted 
"  Poesy  and  the  Arts,"  which  is  much  praised.  Some  of  his  portraits 
are  remarkable  ;  that  of  his  wife,  a  daughter  of  Schadow,  is  one  of  his 
finest  works.  He  succeeded  Schadow  in  the  Academy  of  Diisseldorf, 
in  1860.  At  the  Leipsic  Museum  there  is  a  cartoon  of  a  work  exe- 
cuted by  Bendemann,  in  the  ball-room  of  the  castle  at  Dresden,  rep- 
resenting "  The  Hours." 

"  His  talents  expanded  so  early,  that  he  acquired  with  his  first  picture  a  reputation. 
While  in  Diisseldorf  he  seems  to  have  taken  the  life  of  the  children  of  Israel,  in  joy  and 
sorrow,  for  illustration, —  a  theme  around  which  have  been  gathered  many  of  the  artist's 
most  renowned  works,  such,  for  example,  as  the  well-known  'The  Captive  Israelites 
mourning  by  the  Waters  of  Babylon. '  German  critics  find  in  these  compositions  the  qual- 
ities of  the  elegy  and  the  idyl ;  they  pronounce  these  productions  as  poems  in  beauty, 
purity,  and  greatness  of  soul  Bendemann  may  be  surpassed  by  some  of  his  con- 
temporaries for  play  of  fancy  and  fertility  of  imagination,  by  others  for  classic  subtlety 
or  beauty  in  form,  by  many  again  for  Christian  graces  and  direct  spiritual  utterance ; 
but  to  him  pertain  supremely  patriarchal  power  and  presence.  A  man  so  gifted  might 
have  been  painter  to  the  kings  of  Israel,  catching  the  words  of  inspiration  as  they  fell 
from  prophetic  lips  ;  verily  such  a  man  were  worthy  in  his  art  to  serve  the  God  of 
Jacob  in  the  courts  of  the  Temple  in  Jerusalem. "  —  J.  Beavington  Atkinson,  London 
Art  Journal,  August,  1865. 

Bendemann,  Rudolf  Christian  Eugen.  (Ger.)  Born  at  Dres- 
den, 1851.  Son  and  pupil  of  the  preceding  artist.  At  the  National 
Gallery,  Berlin,  he  has  worked  with  other  young  artists  on  the 
mural  decorations. 

Benedetti,  Tommaso.  (Ital.)  Born  at  Home,  1797.  This  en- 
graver first  studied  at  Vienna,  where  he  was  under  the  advice  of 
Barth.  After  visiting  Italy  and  Sicily,  he  settled  at  Vienna,  and  de- 
voted himself  to  the  reproduction  of  the  works  of  both  modern  and 
old-time  artists.  Among  his  plates  are,  "A  Portion  of  the  Last 
Supper,"  after  Leonardo  ;  "  Christ  placed  in  the  Tomb  "  and  "  The 
Holy  Family,"  after  Titian  ;  "  The  Duke  of  Reichstadt,"  after  Daf- 
finger ;  etc. 

Benjamin,  Samuel  Green  Wheeler.  (Am.)  Son  of  an  Ameri- 
can Missionary  to  the  Levant ;  he  was  born  at  Argos,  Greece,  in  1837. 
He  began  his  art  education  by  the  study  of  drawing  and  aquarelle 
with  Carlo  Brindesi  of  the  Spanish  and  Italian  school.  After  fur- 
nishing cuts  for  the  Illustrated  London  News,  he  came  to  the  United 
States,  graduating  at  Williams  College.  In  1871  he  took  lessons  in 
oil-painting  of  S.  L.  Gerry  and  W.  E.  Norton,  spending  his  profes- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  55 


sional  life  in  Boston  and  New  York.  He  was  elected  a  member  of 
the  Boston  Art  Club  in  1873.  Among  the  most  important  of  his 
paintings  are,  "  Porta  da  Cruz  Madeira,"  at  the  Centennial  Exhibition 
at  Philadelphia,  in  1876  ;  "  Gibraltar,"  owned  by  Mr.  Johnson  of 
Philadelphia  ;  "  Pico  Azores,"  owned  by  Mrs.  Pound,  Isle  of  Wight. 
"  White  Island,"  belonging  to  the  Marine  Gallery,  London  ;  "  Day- 
Break  off  the  Corbiere,"  belonging  to  the  Boston  Art  Club  ;  "  After 
the  Storm,"  belonging  to  Mr.  Means  of  Dorchester  ;  and  "  On  the 
Breakers,"  to  Dr.  Day. 

Mr.  Benjamin  has  been  as  successful  with  his  pen  as  with  his  pencil 
and  his  brush.  He  has  contributed  essays,  poems,  and  illustrated 
articles  to  the  North  American  Eeview,  the  Atlantic,  Harper's,  Scrib- 
ner's,  and  other  periodicals.  In  1860  he  published  a  volume  entitled 
"  Constantinople,  The  Isle  of  Pearls,  and  other  Poems  "  ;  in  1868, 
"  The  Turk  and  the  Greek "  ;  "  The  Choice  of  Paris,"  in  1870  ; 
"  What  is  Art "  and  "  Contemporary  Art  in  Europe  "  (illustrated),  in 
1877  ;  "  The  Atlantic  Islands  "  (illustrated)  and  "  Wonders  and  Phe- 
nomena of  the  Multitudinous  Seas  "  are  works  upon  which  Mr.  Ben- 
jamin is  now  engaged. 

Benouville,  Achille-Jean.  (Fr.)  Born  at  Paris,  1815.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Picot.  This  artist  and  his 
brother,  Francois  Leon,  gained  the  prix  de  Rome  in  the  same  year. 
The  views  represented  by  Achille  are  often  Italian  ;  that  of  "  The 
Coliseum  as  seen  from  the  Palatine  "  (1870)  is  in  the  Luxembourg. 
"The  Pic  du  Midi,  at  Bigorre,  seen  from  the  Bridge  of  Jurangon, 
Lower  Pyrenees"  (1872),  was  bought  by  the  late  Mr.  Stewart  of  New 
York.  At  the  Salon  of  1878  he  exhibited  "The  Anio,  between 
Tivoli  and  Vicovaro." 

Benouville,  Francois-Leon.  (Fr.)  Born  at  Paris  (1821  - 1859). 
Chevalier  of  the  Legion  of  Honor.  Brother  of  the  preceding  artist 
and  pupil  of  Picot.  His  picture  of  "  St.  Francis  of  Assisi  Dying  " 
(1853)  was  purchased  for  the  Luxembourg.  He  affected  religious 
subjects,  and  executed  some  decorative  paintings  in  the  public  build- 
ings of  Paris. 

Benson,  Eugene,  A.  N.  A.  (Am.)  Born  at  Hyde  Park  on  the 
Hudson,  1839.  He  began  his  studies  in  the  National  Academy,  New 
York,  and  in  the  studio  of  J.  H.  Wright,  portrait-painter.  Later,  he 
pursued  a  course  of  independent  art-studies  at  the  Louvre,  Paris,  and 
finally,  at  Venice,  devoted  himself  particularly  to  the  Venetian  mas- 
ters. His  professional  life  has  been  spent  in  New  York,  Paris, 
Venice,  and  Rome,  and  in  travel  in  Egypt,  Syria,  etc.  In  1862  he 
was  elected  an  Associate  of  the  National  Academy.  Among  the  bet- 
ter known  of  his  pictures  are,  "  Retrospection,"  owned  by  Mr.  Otis 
of  New  York  ;  "  The  Anatomist,"  belonging  to  St.  Luke's  Hospital, 
New  York  ;  "  Cloud  Towers,"  "  The  Strayed  Maskers  "  (at  the  Royal 
Academy,  London,  in  1873,  and  at  the  National  Academy,  New 


56       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


York,  in  1874),  belonging  to  C.  H.  Sneff ;  "  Merchant  of  Cairo," 
belonging  to  T.  G.  Appleton  of  Boston  ;  "  Renunciation "  (Royal 
Academy,  1876),  owned  in  Louisville,  Ky.  ;  "  Bazaar  at  Cairo " 
(National  Academy,  1877),  "  Hay  Boats,"  property  of  A.  R.  Cooper, 
and  "  Peasants  of  Cadore  at  Religious  Worship  "  (Royal  Academy, 
1876,  and  National  Academy,  1877)  ;  "  Thoughts  in  Exile,"  belonging 
to  M.  0.  Roberts  ;  "  A  Reverie,"  painted  for  R.  M.  Olyphant ;  "  Mak- 
ing the  Best  of  It,"  bought  by  the  Artists'  Fund  Society  ;  "  Dead 
Calm  on  the  Hill,"  property  of  W.  E.  Brown,  California  ;  "  Market- 
place, Egypt "  (Dudley  Gallery,  London,  1877)  ;  "  Study  of  a  Girl 
in  Blue,"  in  the  Suydam  Collection,  bequeathed  to  the  National 
Academy,  New  York  ;  and  "  Sad  Thoughts,"  painted  for  James  Lor- 
rimer  Graham,  Jr.  To  the  Centennial  Exhibition  of  1876,  at  Phil- 
adelphia, Benson  contributed,  "  Sirocco,  Venice,"  "  The  Strayed 
Maskers,"  "  Interior  of  St.  Mark's,  Venice,"  and  "  The  Reverential 
Anatomist."  To  the  Paris  Exposition  of  1878  he  sent  "  Hashish 
Smokers,  Jerusalem,"  belonging  to  S.  R.  Van  Deuzer.  At  the  Me- 
chanics' Fair,  Boston,  1878,  was  his  "Slave's  Tower,"  owned  by 
E.  B.  Haskell  of  Boston. 

In  addition  to  Eugene  Benson's  work  as  a  painter,  he  was  a  regular 
contributor  to  the  Atlantic  Monthly,  the  Galaxy,  and  Appletons'  J our- 
nal,  in  1868  and  '69,  and  has  written  for  many  of  the  leading  jour- 
nals of  New  York.  Since  1871,  however,  residing  in  Rome,  he  has 
given  his  entire  attention  to  painting. 

"  Mr.  Benson  has  concentrated  the  chief  interest  and  effect  upon  the  living  group 
['  The  Strayed  Maskers '].  There  is  dramatic  action  in  the  figures,  harmony  of  «olor  and 
grace  of  form  and  poetical  composition  in  the  tableau  ;  and  the  repelling  element  in  the 
situation  has  been  pushed  off  literally  into  the  far  perspective,  and  veiled  in  the  gloom 
of  the  room.  At  first  sight  this  picture  may  be  looked  upon  as  startling  and  sensa- 
tional, but  it  has  been  treated  so  temperately,  so  conscientiously,  that  this  feeling  soon 
disappears,  and  it  will  be  admired  for  its  unity  and  the  lesson  it  teaches."  —  New  York 
Evening  Post,  1873. 

"  Mr.  Benson  exhibited  his  *  Strayed  Maskers '  and  several  Venetian  studies,  which 
bore  evidence  of  earnest  study  and  a  fine  sense  of  color.  Mr.  Benson's  pictures  have  of 
late  been  characterized  by  very  decided  ability."  —  Prof.  Weir's  Official  Report  of  Cen- 
tennial Exhibition  at  Philadelphia,  1876. 

"  Mr.  Eugene  Benson's  '  Last  Worshiper'  is  commendable  in  \\\e  sense  of  its  serious 
intent  and  careful  execution,  nor  does  it  lack  matter  for  reflection  in  raising  the  curious 
question  as  to  the  precise  period  at  which  the  Egyptian  of  old  abandoned  the  worship 

of  the  Sphynx,  etc  Benson  has  evidently  an  eclectic  and  speculative  mind,  and  in 

these  days  of  clever  and  vivacious  vulgarity  it  is  something  even  to  be  serious."  —  Lon- 
don Daily  News,  June  2,  1877. 

Benvenuti,  Pietro.  (Ital.)  Born  in  Arezzo  (1769-1844). 
This  artist  is  one  of  the  first  of  modern  Tuscan  painters.  His  draw- 
ing was  correct,  and  his  color  admirable.  The  ceiling  of  the  Medici 
Chapel  in  the  church  of  San  Lorenzo  in  Florence  was  his  work,  and 
the  paintings  on  it  are  quite  worthy  of  their  honorable  position.  The 
ceiling  of  the  Hall  of  Hercules  in  the  Pitti  Palace  was  painted  by  him. 
His  portrait  by  his  own  hand  is  in  the  UfBzi,  and  his  tomb,  erected 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  57 


by  Leopold  II.,  Grand  Duke  of  Tuscany,  is  in  the  same  church  of  San 
Lorenzo,  in  which  he  spent  so  much  time  and  talent.  Among  his 
other  notable  works  are  the  "  Judith,"  in  the  Cathedral  of  Arezzo  ; 
the  picture  of  "  Boccaccio  "  at  Certaldo  ;  and  a  religious  picture  in  the 
church  of  the  Servites  at  Siena. 

Berchere,  Narcisse.  (Fr.)  Born  at  I^tampes,  1822.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Remond.  He  has  traveled  in 
Spain  and  the  East,  and  many  of  his  pictures  represent  Oriental 
scenery  and  customs.  His  "  Twilight,  Nubia  "  is  at  the  Luxembourg. 
At  the  Salon  of  1878  he  exhibited  "  The  Nile  between  old  Cairo  and 
the  Island  of  Rhoda,"  belonging  to  M.  J.  Guichard,  and  "  The  Rames- 
sion  at  Thebes,  Upper  Egypt." 

Bergeret,  Denis-Pierre.  (Fr.)  Born  at  Villeparisis.  Medals 
in  1875  and  '77.  Pupil  of  E.  Isabey.  At  the  Salon  of  1877  he  ex- 
hibited "  The  Shrimps  "  and  "  The  Preparations  for  the  Dessert "  ;  in 
1876,  "Figs"  and  "Asparagus,  Shrimps,  etc.";  in  1875,  "The 
Dessert "  and  "  The  Lobster  "  ;  in  1878,  "  The  Dessert  "  and  "Plums." 

Bergh,  Edward.  (Swede.)  Born  in  Stockholm,  1828.  Medal 
at  Paris  in  1867.  Studied  at  Dusseldorf.  In  the  Gallery  at  Stock- 
holm is  his  "  Landscape  in  Smaland  (Sweden)  with  a  Waterfall,  near 
a  Mill."  At  Paris,  in  1868,  he  exhibited  "  The  Wreckers  on  the  Coast 
of  Sweden"  and  "  A  Waterfall,  Sweden."  At  London,  in  1871,  he  ex- 
hibited "  In  the  Birch  Wood."  In  the  Gallery  at  Christiansborg  is 
"  Under  the  Birches,"  subject  taken  from  Lake  Maelar,  1870. 

"  In  Stockholm  the  examples  of  the  now  dominant  German  school  are  numerous. 
For  instance,  the  grand  landscapes  by  Edward  Bergh  and  J.  E.  Bergh  might  have  been 
actually  painted  in  Dusseldorf. "  — J.  Beavington  Atkinson,  Art  Tour  to  Northern  Capi- 
tals of  Europe. 

Bergmann,  Ignace.  (Ger.)  Born  at  Au,  Faubourg  of  Munich, 
1797.  Studied  at  Munich  and  spent  several  years  in  Italy.  He  has 
made  some  miniature  portraits  which  are  remarkable  for  their  color  ; 
he  has  also  made  excellent  copies  of  some  masterpieces,  but  his  repu- 
tation rests  on  his  fine  lithographs.  Among  them  are,  "  The  Death 
of  Mary,"  after  Schoreel ;  "  The  Crucifix,"  after  Mabuse  ;  and  the 
"  Cathedrals  of  Antwerp  and  Milan,"  after  Migliara. 

Bernardelli,  A.  (Brazilian.)  Sculptor.  At  Philadelphia  he  ex- 
hibited "  Recollection  of  the  Tribe "  and  "  The  Indian  Peeping " 
(both  in  plaster),  and  received  a  medal. 

Berne-Bellecour,  Etienne-Prosper.  (Fr.)  Born  at  Boulogne- 
sur-Mer.  Medals  in  1869  and  ?72.  Pupil  of  Picot  and  F.  Barrias.  At 
the  Salon  of  1877  he  exhibited,  "  In  the  Trench,  — Death  of  Lieuten- 
ant Michel,  January,  1871" ;  in  1876,  "La  desserte";  in  1875,  "The 
Sharp-Shooters  at  the  Combat  of  Malmaison,  1870,"  and  "  The 
Breech"  ;  in  1872,  "A  Cannon-Shot"  and  "A  Nest  of  Loves"  (wa- 
ter-color). In  1878  he  exhibited  at  the  Salon  "An  Advance  Post,— 
Grand  Reviews,  1877"  and  "Some  Sharp-Shooters." 


58       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Bernhardt,  Sarah.  It  is  not  possible  here  to  give  a  sketch  of  the 
interesting  life  of  this  remarkable  actress  and  artist  ;  we  can  only 
speak  of  her  in  connection  with  her  sculptures.  In  1869  she  watched 
Mathieu-  Meusnier  as  he  made  a  bust  of  Dona  Maria  de  Neuborg.  She 
made  her  criticisms,  and  they  were  always  just.  The  sculptor  told 
her  that  she  had  the  eye  of  an  artist,  and  should  model  herself.  She 
commenced,  and  soon  brought  him  a  medallion  portrait  of  her  Aunt 
Breeek.  Mathieu- Meusnier  was  much  surprised,  and  seriously  encour- 
aged her  to  continue.  She  wished  to  do  nothing  else,  for  already  she 
was  charmed  with  the  glimpse  she  had  gained  of  what  might  be  possible 
to  her.  She  soon  took  a  studio,  and  in  1875  sent  to  the  Salon  a  bust, 
which  was  much  remarked.  In  1876  she  exhibited  "After  the  Tem- 
pest," the  subject  being  taken  from  the  history  of  a  poor  woman 
whom  she  had  met,  and  who  had  seen  the  body  of  her  last  son  (two 
having  already  died)  washed  ashore  after  a  storm.  It  is  a  work  of 
wonderful  effect,  and  seems  to  foretell  a  great  future  for  this  artist. 
Mile.  Bernhardt  also  paints,  and  we  may  hope  to  see  many  more  re- 
sults from  her  work,  since  she  is  quite  determined  to  devote  herself  to 
these  arts  she  seems  so  easily  to  have  mastered  in  the  initiatory  steps. 
At  the  Salon  of  1878  she  exhibited  two  portrait  busts,  in  bronze,  of 
M.  E.  de  G.  and  M.  W.  B. 

Bernier,  Camille.  {Ft.)  Born  at  Colmar.  Chevalier  of  the  Le- 
gion of  Honor.  Pupil  of  L.  Fleury.  At  the  Salon  of  1877  he  ex- 
hibited "  Sabotiers  dans  bois  de  Quimerch,"  belonging  to  Mr.  Duncan  ; 
in  1875,  "  Autumn  "  and  "Summer  " ;  in  1872,  "January,"  now  in  the 
Luxembourg,  and  "  August  "  (in  Brittany)  ;  in  1870,  "  A  Road  near 
Bonnalec."  In  1878  he  exhibited  "  Pool  of  Kermoine "  and  the 
"  Heath  of  Saint- Anne."  Mr.  H.  P.  Kidder  has  in  his  collection  a 
fine  work  by  this  painter. 

Bertin,  Francis  Edouard.  {Ft.)  Born  at  Paris  (1797  -  1871). 
Chevalier  of  the  Legion  of  Honor,  and  Commander  of  the  Order  of 
Saints  Maurice  and  Lazarus.  Pupil  of  Girodet  and  Bidault.  Un- 
der Louis  Philippe  this  artist  Avas  Inspector  of  the  Beaux- Arts,  and 
in  this  capacity  went  several  times  to  Italy.  Among  his  works  are, 
"  A  View  of  a  Hermitage  in  an  Ancient  Etruscan  Excavation  near 
Viterbo,"  at  the  Luxembourg  ;  "  View  of  the  Apennines,"  at  the 
Museum  of  Montpellier  ;  "  Temptation  of  Christ,"  at  the  church  of 
Saint-Thomas  of  Aquinas,  at  Paris  ;  and  the  "  Sources  of  the  Alpheus," 
purchased  by  the  government.  This  last  work  was  at  the  Salon  of  1853, 
with  a  "  View  near  Olevano,"  and  a  "  View  of  the  Ancient  Tombs  on 
the  Banks  of  the  Nile,"  and  after  that  year  he  exhibited  no  more. 
Bertin  traveled  in  France,  Switzerland,  Italy,  Sicily,  Greece,  Turkey, 
and  Egypt.  His  sketches  are  very  fine,  and  should  hold  a  first  rank  ; 
there  are  three  of  these  at  the  Luxembourg.  The  father  and  brother 
of  Bertin  had  founded  and  edited  the  "  Journal  des  Debats  "  ;  after 
the  death  of  the  brother,  in  1854,  this  artist  assumed  the  same  duty. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  59 


Bertrand,  Jacques.  (Fr.)  Born  at  Lyons.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Perm.  His  "  Death  of  Virginia  "  (1869) 
is  at  the  Luxembourg.  At  the  Salon  of  1877  he  exhibited  "Echo" 
and  "  The  Education  of  the  Virgin"  ;  in  1876,  "  Aurora  "  and  "  Mar- 
guerite "  ;  in  1875,  "  Magdalene,  0  crux,  spes  unica  !  "  "  Know  Thy- 
self," and  "  Lesbia"  ;  in  1878,  "  The  Cloister"  and  "  Tete  d'etude." 

Besnard,  Paul-Albert.  (Fr.)  Born  at  Paris.  Medal  and  prix 
de  Rome,  1874.  Pupil  of  J.  Bremond  and  Cabanel.  At  the  Salon  of 
1877  he  exhibited  "  A  Fountain  "  and  a  portrait  of  A.  Wormser  ;  in 
1875,  two  portraits  ;  in  1874,  "Autumn  "  and  a  portrait  of  Mile.  G. 

Betsellere,  Pierre-Emile.  (Fr.)  Born  at  Bayonne.  Pupil  of 
Cabanel.  Medal  of  the  third  class  at  the  Salon  of  1878,  where  he 
exhibited  "  Jesus  calming  the  Tempest."    [1847  - 1880.] 

Beverly,  William  R.  (Brit.)  Born  in  1824.  Educated  at  Kich- 
mond,  and  designed  for  the  stage,  he  resolved  at  an  early  age  to 
devote  himself  to  art,  and,  comparatively  self-taught,  he  began  his 
career  as  a  scene-painter  in  the  different  theaters  at  which  his  father, 
an  actor,  was  engaged.  In  1851  he  was  attached  both  to  the  Covent 
Garden  and  Drury  Lane  theaters  ;  but  of  late  years  has  given  his  at- 
tention particularly  to  Drury  Lane.  He  paints  in  water-colors  pictures 
of  a  smaller  and  finer  character  than  those  designed  for  the  theater, 
and  exhibits  frequently  at  the  Boyal  Academy.  In  1865  he  sent 
"  Making  for  Port "  ;  in  1869,  "  Scarborough  Castle  "  and  "  Off  Hast- 
ings" ;  in  1871,  "  Dutch  Dogger  Smack"  ;  in  1872,  "Pier  at  New 
Haven"  ;  in  1873,  "  Low  Water  at  Hastings"  ;  in  1874,  "  The  Turn 
of  the  Tide  below  the  Pool,  London  ";  in  1875,  "Wet  Sand  and  Dry 
Sand  "  ;  and  in  1877,  "  High  Light,  North  Shields." 

Bewer,  Clement.  (Ger.)  Born  at  Aix-la-Chapelle,  1830.  Studied 
at  Diisseldorf,  Antwerp,  and  Paris.  "The  Flight  of  Mary  Stuart," 
now  at  Cologne,  and  "  Borneo  and  Juliet,"  are  among  his  best  works. 
After  returning  from  France  to  Germany  lie  painted  "  Tasso  reading 
his  Jerusalem  to  the  Court  at  Ferrara."  This  attracted  much  atten- 
tion, and  was  purchased  by  an  American  gentleman,  who  also  com- 
missioned Bewer  to  paint  a  companion  picture.  He  painted  the  "  War 
of  Wartburg."  This  picture  gives  a  resume  of  the  Middle  Ages  ;  the 
effects  of  light  and  color  in  it  are  to  be  remarked.  Bewer  has  also 
painted  religious  subjects  and  portraits. 

Bewick,  William.  (Brit.)  (1795  -  1866.)  A  relative  of  Thomas 
Bewick.  He  early  displayed  a  taste  for  art,  and  entered  the  studio  of 
Haydon  when  twenty  years  old.  He  painted  portraits  of  Sir  David 
Brewster,  Jamieson,  Jeffrey,  and  others,  and  many  ideal  works. 

Beylard,  Louis  Charles.  (Fr.)  Born  at  Bordeaux.  At  the  Salon 
of  1878  a  medal  of  the  second  class  and  the  prix  de  Florence.  He 
exhibited  a  statue  in  plaster,  called  "  Brother  Alphonse."  It  was  the 
model  of  a  bronze  statue  erected  at  Bordeaux  on  the  tomb  of  the 
"  Brothers  of  the  Christian  Schools."    Beylard  is  a  pupil  of  A.  Du- 


60       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


mont.  At  the  Salon  of  1877  he  exhibited  a  group  in  bronze,  "  Me- 
leager  "  ;  in  1876,  a  statue  in  plaster,  "  The  Chaldean  Shepherd,"  etc. 

Bezzuoli,  Giuseppe.  (Ital.)  Born  at  Florence  (1784  -  1855). 
Professor  in  the  Academy  of  Florence.  He  formed  himself  by  study 
of  the  old  masters,  and  became  an  illustrious  historical  painter.  Bold- 
ness in  drawing  and  strength  of  color  were  his  chief  characteristics. 
Among  his  best  works  are  two  ceilings  in  the  Borghese  Palace,  Borne, 
representing  the  "  Toilet  of  Venus  "  and  "  Venus  and  Ascanius  "  ;  the 
"  Baptism  of  Clovis,"  in  San  Remigio.  "  Scenes  from  the  Life  of 
Julius  Csesar  "  and  the  "  Entrance  of  Charles  VIII.  into  Florence  "  are 
at  the  Pitti.    His  portrait  is  in  the  Iconographic  Gallery  at  Florence. 

Biard,  Francois.  (Fr.)  Born  at  Lyons,  1800.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Revoil.  This  artist  has  traveled  much 
and  has  painted  scenes  in  many  countries.  The  "  Babes  in  the  Wood  " 
(1828)  made  him  popular,  and  was  purchased  by  an  Art  Association 
of  Lyons.  "  Du  Couedic  taking  Leave  of  his  Crew"  (1841)  is  in  the 
Luxembourg  ;  "The  Fortune-Teller,"  in  the  Museum  of  Lyons  ;  "A 
Wind  Storm  in  the  Desert,"  Museum  at  Nimes  ;  three  of  his  pictures 
are  in  the  Museum  at  Leipsic  ;  his  "  Clearing  for  Action  "  belongs  to 
the  Emperor  of  Russia.  The  works  of  this  artist  are  much  prized  in 
England.  Many  of  them  have  been  engraved  by  Jazet.  Biard  wrote 
an  account  of  his  journey  to  Brazil,  which  first  appeared  in  "  Le  Tour 
du  Monde,"  and,  later,  in  an  illustrated  volume.    [Died,  1882.] 

Bida,  Alexandre.  (Fr.)  Born  at  Toulouse,  1813.  Officer  of  the 
Legion  of  Honor  and  the  Order  of  Leopold.  Pupil  of  Delacroix. 
Water-color  artist  and  designer.  Has  visited  the  East.  The  follow- 
ing pencil-drawings  are  in  the  Luxembourg  :  "  Refectory  of  Greek 
Monks  "  (1857)  ;  "  Evening  Call  in  the  Crimea  "  (1857)  ;  "  The  Field 
of  Boaz,  Bethlehem"  (1861)  ;  "  Massacre  of  Mamelukes"  (1861)  ;  and 
"  Prayer  in  a  Mosque."  Bida  has  sometimes  painted  portraits.  His 
exquisite  designs  for  the  illustrations  of  the  Gospels  are  well  known 
by  their  exhibition  in  1867  and  at  other  times  since  then.  This  artist 
has  made  many  designs  for  "  Le  Tour  du  Monde." 

At  the  Walters  Gallery,  Baltimore,  are  three  pictures  by  Bida,  — 
"  The  Prayer  upon  the  House-Top,"  "  Moses  on  a  Mountain,  resting  on 
a  Rock,"  and  a  representation  of  the  custom  in  some  Eastern  country 
where  annually  the  people  prostrate  themselves  for  a  horse  and  rider 
to  pass  over  their  bodies.  This  artist  represents  with  wonderful  power 
the  life  and  scenery  of  Oriental  countries,  and  his  scriptural  scenes  are 
not  surpassed  in  force  and  directness  by  any  other  painters  of  like 
motives. 

Biefve,  Edouard  de.  (Belgian.)  Born  at  BrusseTs,  1808.  Oflicer 
of  the  Order  of  the  Red  Eagle.  Knight  of  the  Orders  of  Leopold  and 
St.  Michael  of  Bavaria.  He  studied  design,  sculpture,  and  painting, 
but  has  pursued  the  latter  only.  His  "  Compromise  of  the  Nobles 
at  Brussels,  1566,"  now  in  the  National  Gallery,  Berlin,  was  seen  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  61 


Paris  in  1867.  "  The  Chevaliers  of  the  Teutonic  Order  recognizing 
the  Elector  of  Brandenburg  as  their  Grand  Master  "  was  painted  for 
the  Emperor  of  Germany.  At  the  Royal  Academy  Exposition,  Berlin, 
in  1876,  he  exhibited  an  "Episode  at  the  Banquet  of  the  Confederate 
Nobles,  1566."    [Died,  1882.] 

Biercher,  Mathieu.  (Ger.)  Born  at  Cologne,  1797.  The  prin- 
cipal works  of  this  architect  are  the  Theater  (1829)  and  the  Palace  of 
the  Regency,  at  Cologne.  This  last  is  considered  one  of  the  finest 
public  monuments  in  the  Province  of  the  Rhine. 

Biermann,  Charles  Edouard.  (Prus.)  Born  at  Berlin,  1803. 
Member  and  Professor  of  the  Academy  at  Berlin.  This  painter  sent 
sixteen  water-color  views  of  Dalmatia  to  the  Exposition  at  Paris  in 
1867.  His  "Views  of  Switzerland,"  "An  Evening  in  the  Upper 
Alps,"  "  The  Cathedral  of  Milan,"  and  a  view  of  Florence  are  among 
his  best-known  works,  and  have  been  reproduced  by  engraving  or 
lithography. 

Bierstadt,  Albert,  N.  A.  (Am.)  Chevalier  of  the  Legion  of 
Honor.  Born  in  Dusseldorf,  1829.  Taken  to  America  when  an  in- 
fant. He  displayed,  as  a  lad,  a  decided  taste  for  art.  He  made  many 
clever  sketches  in  crayon  as  a  young  man,  and  his  first  essay  in  oil  in 
1851,  when  he  was  twenty-two  years  of  age.  In  1853  he  went  to  Dus- 
seldorf and  studied  in  the  Academy  there.  He  spent  a  winter  in 
Rome,  and  during  the  summer  months  sketched  in  Switzerland  and 
Germany,  returning  to  America  in  1857.  In  1860  he  was  made  a 
member  of  the  National  Academy  of  Design.  In  1867  he  was  sent  to 
Europe  upon  a  government  commission  to  make  studies  for  a  paint- 
ing of  the  "  Discovery  of  the  North  River  by  Hendrick  Hudson." 

Among  Bierstadt's  most  famous  works  are  the  "  Rocky  Mountains, 
Lander's  Peak"  (6  by  10  feet),  sold  to  Mr.  James  McHenry  for 
$25,000  ;  "  Storm  in  the  Rocky  Mountains,  Mount  Rosalie"  (12  by 
7  feet),  owned  by  Mr.  T.  W.  Kennard,  valued  at  $35,000  ;  "  North 
Fork  of  the  Platte  "  (7  by  5  feet),  owned  by  Judge  Hilton,  valued  at 
$7,000  ;  his  "  Burning  Ship "  is  in  Mr.  Belmont's  gallery  ;  "Laramie 
Peak  "  is  in  the  Buffalo  Academy  of  Fine  Arts  ;  "  Looking  down  the 
Yosemite  "  belongs  to  W.  H.  Crosby  ;  "  Valley  of  the  Yosemite,"  to 
James  Lenox  ;  "  Sierra  Nevada  Mountains,"  to  Lewis  Roberts  ;  and 
"  Estes  Park,  Colorado,"  to  the  Earl  of  Dunraven.  Bierstadt  received 
$15,000  for  this  picture,  and  it  was  exhibited  at  the  Royal  Academy, 
London,  in  1878.  He  sent  to  the  National  Academy  in  New  York, 
in  1877,  "  Mountain  Lake  "  ;  in  1875,  "  Valley  of  King's  River,  Cali- 
fornia "  ;  in  1874,  "  A  Landscape  "  ;  in  1871,  "  In  the  Rocky  Moun- 
tains "  ;  in  1870,  "  Diamond  Pool "  and  "  Mount  Hood." 

"The  same  careful  finish  of  details,  skillful  management  of  light,  and  eye  for  pictur- 
esque possibilities  which  made  Bierstadt's  Old- World  siibjects  so  impressive  and  sugges- 
tive, have  rendered  his  studies  of  American  scenery  full  of  bold  and  true  significance. 
....  Bierstadt  is  a  true  representative  of  the  Dusseldorf  school  of  landscape,  and  to 


62       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


this  fact  are  to  be  ascribed  both  his  merits  and  his  defects.  One  reason  of  the  marvel- 
ous success  of  Bierstadt  is  that  the  Dusseldorf  school  was  a  novelty  here,  though 

familiar  abroad  No  more  genuine  and  grand  American  work  has  been  produced 

than  Bierstadt's  '  Rocky  Mountains.'"  —  Tuckerman's  Book  of  the  Artists. 

"  The  qualities  which  strike  us  in  Mr.  Bierstadt  as  an  artist  are,  first,  a  great  audacity, 
justified  by  perfect  ability  to  accomplish  all  that  he  intends.  He  is  not  a  mere  copyist 
of  Nature,  but  an  artist  having  definite  artistic  intentions,  and  carrying  them  out  with 
care  and  resolution  He  is  always  trying  for  luminous  gradations  and  useful  op- 
positions, and  reaches  what  he  tries  for."  —  London  Saturday  Review. 

"  Bierstadt's  figures  are  picturesquely  grouped,  prosaically  true  to  actual  life,  giving 
additional  interest  to  most  observers,  though  rendering  his  great  work,  'The  Rocky 
Mountains,'  confused,  and  detracting  from  its  principal  features,  besides  making  it  liable 

to  the  artistic  objection  of  two  pictures  in  one,  from  different  points  of  view  As 

a  colorist  Bierstadt  appears  to  better  advantage  in  his  '  Sunshine  and  Shadow,'  a  remi- 
niscence of  the  Rhine.  On  the  whole,  however,  he  has  well  depicted  the  silvery  clear- 
ness and  translucency  of  the  mountain  air  of  the  West,  and  managed*  to  avoid  the  promi- 
nent defects  of  the  Dusseldorf  school  in  general."  —  Jarves,  Art  Idea. 

"  'The  Big  Tree  of  California'  [R.  A.,  1874]  shows  Bierstadt  to  be  an  earnest  student 
of  the  boldest  form  of  landscape  art,  and  we  may  remark  the  effective  management  of 
the  light  which  throws  the  great  girth  of  the  tree  into  prominence." — Art  Journal, 
August,  1874. 

"Mr.  Bierstadt  contributed  his  'Yosemite  Valley,'  'The  Great  Tree  of  California,' 
'  Mount  Hood,  Oregon,'  '  Western  Kansas,'  and  California  Spring,'  no  one  of  which 
equals  his  '  Rocky  Mountains,'  which  some  years  since  acquired  a  great  and  merited 
reputation,  and  was  a  work  of  exceptional  power.  The  earlier  works  of  this  artist 
showed  a  vigorous,  manly  style  of  art,  that  had  its  undeniable  attractions.  His  pictures 
exhibited  at  Philadelphia  indicate  a  lapse  into  sensational  and  meretricious  effects,  and 
a  loss  of  true  artistic  aim.  They  are  vast  illustrations  of  scenery,  carelessly  and  crudely 
executed,  and  we  fail  to  discover  in  them  the  merits  which  rendered  his  earlier  works 
conspicuous."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of '1876. 

"  Whatever  excellence  there  is  in  the  details  of  this  picture  [Bierstadt's  '  Mountain 
Lake,'  N.  A.  1877],  in  the  nice  transparent  shadows  of  the  lake,  the  great  trees  with 
their  peculiar  forms,  the  snow-capped  peaks,  etc.,  is  largely  offset  by  the  extravagance 
of  the  composition."  — ^4r£  Journal,  May,  1877. 

Bilders,  J.  W.  {Dutch.')  Of  Amsterdam.  Medal  at  Philadelphia, 
where  he  exhibited  a  "  Landscape  near  Vorden,"  of  which  Mr.  Weir 
speaks  in  commendation  in  his  report. 

Billet,  Pierre.  (Fr.)  Born  at  Cantin.  Two  medals,  1873  and 
'74.  This  artist,  after  leaving  school,  was  placed  in  his  father's  busi- 
ness of  sugar-making  and  distilling,  but  soon  abandoned  it  for  painting. 
He  was  so  fortunate  as  to  have  Jules  Breton  for  his  friend,  who 
assisted  Billet  by  his  advice,  and  no  doubt  hastened  his  progress  very 
much.  Billet  had  the  good  sense  to  see  that  he  was  in  danger  of 
becoming  a  mere  imitator  of  Breton,  and  separated  himself  from  the 
master,  endeavoring  to  follow  out  his  own  conceptions.  His  first 
Salon  picture  was  "  The  Young  Peasant-Girl,"  in  1867  ;  "  A  Fisher 
on  the  Shore  of  Ambleteuse"  (1869)  is  at  the  Museum  of  Bordeaux  ; 
"Fishers  in  the  Environs  of  Boulogne"  (1870)  is  at  the  Museum  of 
Lille  ;  his  "  High  Tide,"  coast  of  Normandy  (1872),  was  purchased 
for  the  Luxembourg.  He  exhibited  "  The  Return  from  the  Market " 
and  "  The  Grass-Cutters  "  in  1873  ;  for  these  last  two  he  received 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  63 


medals  at  Paris  and  Vienna.  "  The' Tobacco-Smugglers  "  and  "  The 
Wood-Gatherers  "  (1874)  gained  a  second  medal.  In  1875  he  exhibited 
"  In  Winter  "  and  "  A  Souvenir  of  Ambleteuse  "  ;  in  1876,  "  A  Foun- 
tain at  Yport  "  and  "  A  Young  Kitchen-Gardener." 

Billings,  Hammatt.  (Am.)  Died  in  Boston,  1874.  He  was  a 
designer  of  illustrations  for  books,  as  well  as  of  architectural  and 
monumental  objects.  The  case  of  the  great  organ  in  the  Music  Hall, 
Boston,  and  the  Pilgrims'  Monument  at  Plymouth,  were  made  after 
his  designs.  He  was  the  architect  of  many  churches  and  public 
buildings  throughout  the  United  States.  He  lived  in  Boston  for 
many  years.  His  "  Enchanted  Monk,"  in  sepia,  a  notable  drawing, 
belongs  to  Mrs.  William  Claflin  of  Massachusetts. 

"  Billings'  taste  is  refined,  his  talent  versatile,  his  fancy  subtle,  and  his  imagination 
inventive.  In  the  limited  scope  of  architecture  allowed  him  he  has  given  evidence  of  a 
latent  genius  which  in  any  other  country  would  have  been  stimulated  and  developed 
to  the  fullest  powers.  Thus  far  he  is  more  commonly  known  by  his  beautiful  illustra- 
tions of  Keats  and  Tennyson,  and  the  most  intellectually  spiritual  of  the  poets.  He 
does  not  so  much  translate  poetry  into  pictorial  art,  as  he  recasts  it  in  exquisite  shapes 
of  his  own  invention."  —  Jarves,  Art  Idea. 

Bing,  Valentin.  (Dutch.)  Born  at  Amsterdam,  1812.  Painter 
of  history  and  of  interiors.  He  is  well  known  by  his  works  at  various 
expositions  in  Holland.  Among  his  pictures  are,  "  St.  Mark,"  "  Isaac 
and  Eebecca,"  and  "  A  Woman  of  the  Islet  of  Schokland."  The  last 
was  sent  to  Paris  in  1855,  and  was  very  favorably  mentioned  by  the 
critics. 

Birch,  Thomas.  (Am.)  Born  in  London  (1779  - 1851).  He  set- 
tled in  the  United  States  in  1793,  and  began  the  painting  of  portraits 
in  Philadelphia  early  in  the  present  century.  In  1807  he  visited  the 
Cape  of  Delaware,  turning  his  attention  thereafter  to  marine  views 
with  marked  success.  During  the  War  of  1812  and  later,  he  painted 
many  important  pictures  illustrating  the  naval  battles  and  victories  of 
the  United  States.  He  was  also  happy  in  his  representations  of  snow- 
scenes.  His  pictures  of  the  engagements  between  the  "  United  States 
and  Macedonian  "  and  between  the  "  Constitution  and  Guerriere  "  are 
in  the  Harrison  Collection  of  Philadelphia,  and  three  of  his  marine 
views  are  in  the  Claghorn  Collection. 

Bisi,  Giuseppe.  (Ital.)  Born  at  Genoa  (1787- 1869).  Member 
of  the  Academy  of  Milan,  where  he  was  the  Director  of  the  School  of 
Landscape-Painting.  When  young  he  entered  the  French  army  as  a 
volunteer.  After  the  fall  of  the  Empire  he  went  to  Milan,  where  he 
taught  penmanship,  studied  drawing  and  painting,  and  later  entered 
the  studio  of  Massimo  d'Azeglio.  In  1837  he  exhibited  a  large 
picture  of  "The  Lombards  of  the  First  Crusade."  His  "Battle  of 
Guastala "  and  the  "  Battle  of  Vernio  "  were  purchased  by  Charles 
Albert. 

Bisi,  Luigi.    (Ital.)    Born  at  Milan,  1814.    Pupil  of  the  Academy 


64       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  Milan.  His  works  are  chiefly  interiors.  That  of  the  Cathedral  of 
Milan  is  the  most  famous,  and  is  now  in  the  gallery  of  that  city. 

Bispham,  Henry  C.  (Am.)  Born  in  Philadelphia,  1841.  He 
studied  in  Philadelphia,  under  William  T.  Richards,  and,  going  to 
Paris,  was  for  some  time  a  pupil  of  Otto  Weber.  His  professional 
life  has  been  spent  in  Philadelphia,  Paris,  and  New  York,  and  his 
pictures  have  been  exhibited  and  are  owned  in  these  cities.  To  the 
National  Academy,  in  1869,  he  sent  "  On  the  Campagna,"  "  To  the 
Front"  (belonging  to  Alice  Gary),  and  "Noonday  Rest";  in  1875, 
"  A  Misty  Day"  ;  in  1878,  "  Tigris  "  and  «  Landscape  and  Cattle." 

His  "Dead  in  the  Desert"  (1867)  belongs  to  Dr.  Burdick  of  New 
York;  "Roman  Bull"  (1867),  to  the  Century  Club;  "The  Wine- 
Cart  "  (1868),  to  Dr.  Holcombe  of  New  York  ;  "The  Raid"  (1866),  to 
E.  Merrick  of  Philadelphia  ;  "  Hunted  Down  "  (1871),  to  George  Ma- 
gee,  New  York  ;  "  The  Stampede  "  (1873),  to  Albert  Hayden,  New 
York  ;  "  Crouching  Lion,"  to  H.  P.  Cooper.  "  The  Stampede  "  was  at 
the  Centennial  Exhibition  of  Philadelphia  in  1876.    [Died,  1882.] 

"  Bispham  has  executed  several  excellent  pictures  wherein  the  cattle  in  pastoral,  and 
the  wild  animals  in  wild  landscapes  are  delineated  with  great  authenticity  and  fine 
feeling."  —  Tuckerman's  Book  of  the  Artists,  1867. 

Bisschop,  Christophe.  (Dutch.)  Born  at  Leeuwarde.  Pupil 
of  Comte  and  Gleyre.  Medal  at  Philadelphia.  At  Paris,  in  1877,  he 
exhibited  "The  Neighbor";  in  1872,  "The  Painter  of  the  Cradle" 
and  "  The  Curiosity-Seller." 

At  the  Wilson  Exposition  at  Brussels,  in  1873,  was  seen  his  picture 
of  "The  Offering."   John  F.  Weir,  in  his  report,  says  of  his  works  :  — 

"Two  portrait-studies,  entitled  'At  Church'  and  ' Dieuwke,'  were  unsurpassed  by 
anything  of  the  kind  in  the  whole  exhibition.  Admirable  in  expression,  in  force  of 
chiaroscuro,  and  in  richness  of  coloring,  these  pictures  are  worthy  of  highest  praise. 
The  tones  are  clear  and  deep,  and  the  roundness  and  relief  of  the  forms  are  rendered 
with  great  skill." 

At  the  Royal  Academy  Exhibition,  London,  1876,  Bisschop  exhib- 
ited "Sharpening  a  Skate,  Friesland."  At  the  Paris  Exposition  of 
1878  he  exhibited  "  The  Jewels  of  the  Queen  "  and  two  other  works. 

Blaas,  Karl.  (Ger.)  Born  at  Nauders,  Tyrol  (1815-1876). 
Professor  in  the  Academy  of  Vienna,  and,  later,  in  that  of  Venice. 
Medal  at  Paris.  Blaas  studied  at  Venice  under  Liparini.  Among 
his  works  are,  "  The  Separation  of  Jacob  and  Laban,"  at  the  Museum 
of  Vienna  ;  a  series  of  frescos  illustrating  the  life  of  Christ,  at  the 
modern  church  of  Foth  in  Hungary  ;  a  part  of  the  frescos  at  the  new 
Cathedral  at  Vienna  and  "  The  Battles  of  Zentha  and  Nordlingen," 
which  last  two  were  at  the  Exposition  of  1867,  where  his  picture  of 
"  Charlemagne  visiting  a  Boys'  School "  took  a  medal. 

Blaas,  Eugen.  (Ger.)  Born  at  Albano,  1843.  Member  of  the 
Academy  of  Venice,  where  he  had  studied  under  his  father,  Karl 
Blaas.  He  has  also  studied  in  Vienna,  where  he  obtained  a  prize. 
He  has  traveled  in  England  and  on  the  Continent.    Blaas  painted  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  65 


1863  an  altar-piece  for  the  chapel  of  St.  Valentine  at  Obermais  near 
Meran.  "An  Evening  in  Murano"  (1870)  was  purchased  for  the 
Belvedere  Gallery,  Vienna.  At  the  Royal  Academy  Exposition,  Ber- 
lin, 1876,  he  exhibited  "A  Balcony  Scene  in  Venice." 

Blackmail,  Walter.  (Am.)  A  native  of  New  York,  residing  in 
Paris  for  some  time,  and  studying  there  under  Gerome.  To  the  Ex- 
hibition of  the  Society  of  American  Painters,  in  1878,  he  sent  "Caught 
in  the  Act"  ;  to  the  Paris  Salon,  the  same  year,  "News  of  the  Day" 
and  "  Comment  deja  !  " 

Blanc,  Louis  Ammy.  (Ger.)  Born  at  Berlin,  1810.  Studied  at 
the  Academy  of  Berlin.  Portrait-painter.  Many  of  his  sitters  have 
been  of  royal  families  and  members  of  courts.  In  the  National  Gal- 
lery at  Berlin  is  his  "  Fishing  Girl." 

Blanc,  Paul  Joseph.  (Fr.)  Born  at  Paris.  Medals,  1867,  '70, 
and  '72.  Pupil  of  Bin  and  Cabanel.  At  the  Luxembourg  is  his  "  Per- 
seus" (1870).  At  the  Salon  of  1876  he  exhibited  "The  Deliver- 
ance "  (Ariosto)  and  "  The  Vow  of  Clovis  at  the  Battle  of  Tolbiac,  — 
the  Baptism  of  Clovis"  ;  in  1873,  "  The  Invasion"  (Virgil)  ;  in  1872, 
"The  Abduction  of  the  Palladium"  ;  in  1878,  "The  Wife  of  a  Bri- 
gand," belonging  to  M.  E.  Pasteur. 

Blanchard,  Henri-Fetros-Leon-Pharamond.  (Fr.)  Born  at 
Guillotiere  (1805  -  1873).  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  Chasselat  and  Gros.  He  has  traveled  in  Africa,  Spain,  Mexico, 
Russia,  and  Germany,  and  his  numerous  works  represent  the  scenery 
and  customs  of  all  these  countries.  "  The  Disarming  of  Vera-Cruz  " 
(1840)  is  at  Versailles;  "Vasco  Nunez  de  Balboa  discovering  the 
South  Sea"  (1861)  was  bought  by  the  State  ;  "  The  March  of  a  Di- 
vision of  the  French  Army  on  Mexico, —  the  Arrival  at  Plan-del-Rio  " 
(1865)  was  bought  by  the  Ministry  of  Fine  Arts.  Blanchard  has 
contributed  to  "  L'lllustration,"  and  in  1855  published  "  L'ltineraire 
Historique  et  Descriptif  de  Paris  a  Constantinople." 

Blanchard,  Auguste-Thom as-Marie.  (Fr.)  Born  at  Paris, 
1819.  Chevalier  of  the  Legion  of  Honor.  After  receiving  a  prize 
for  engraving,  at  the  Institute,  he  determined  to  devote  himself  to  the 
reproduction  of  notable  modern  pictures.  The  following  are  among 
his  principal  works  :  "  The  Repose  in  Egypt,"  after  Bouchot  ;  "  Head 
of  Christ "  and  "  The  Angel  Gabriel,"  after  Delaroche  ;  "  Faust  and 
Marguerite,"  after  Ary  Scheffer  ;  "  Portrait  of  the  Emperor,"  after  Ed. 
Dubufe  ;  "  The  Smokers,"  after  Meissonier ;  "  Jupiter  and  Antiope,' 
after  Correggio  ;  "  Derby  Day,"  after  Frith  ;  "  The  Chess-Players," 
after  Meissonier  ;  "The  Marriage  of  the  Princess  Royal  of  England 
with  the  Prince  Frederick  William  of  Prussia,"  after  John  Philip  ; 
"  The  Dead  Christ  on  the  Lap  of  the  Virgin,"  after  Francia  ;  "  The 
Saviour  found  by  his  Mother  in  the  Temple,"  after  Holman  Hunt ; 
"  The  Fete  of  the  Vintage  at  Rome,"  after  Alma-Tadema  ;  etc.  At 
the  Academy  Exhibition,  London,  1878,  he  exhibited  "  The  Sculpture- 

E 


66       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Gallery,"  after  Alma-Tadema,  and  "  A  Picture-Gallery  "  (both  scenes 
in  Kome),  after  the  same  master. 

Blanchard,  Edouard  Theophile.  {Ft.)  Born  at  Paris.  Prix 
de  Rome,  1868.  Medals,  1872  and  74.  Pupil  of  Cabanel.  At  the 
Salon  of  1877  he  exhibited  a  portrait  of  the  Duchess  of  Castiglione- 
Colonna ;  in  1874,  "  Hylas  borne  away  by  the  Nymphs,"  now  at  the 
Luxembourg  and  "Herodias";  in  1872,  "A  Courtesan."  [1843-1879.] 

Blanchard,  Jules.  (Ft.)  Born  at  Puiseaux.  Medals  at  Paris, 
1866,  '67,  and  '73.  Pupil  of  Jouffroy.  At  Philadelphia  he  exhibited 
the  "Juggler"  (in  bronze),  and  received  a  medal.  At  the  Salon  of 
1878  he  exhibited  two  portrait  busts. 

Blaser,  Gustav.  (Ger.)  Born  at  Dusseldorf  (1813- 1874).  Pro- 
fessor at  Berlin  Academy.  Studied  under  the  painter  Mengelberg, 
then  under  the  sculptors  Stephan  and  Scholl  in  Mayence,  and  at 
length  under  Eauch  in  Berlin,  where  he  assisted  the  latter  in  the 
monument  to  Frederick.  In  1845  he  visited  Italy.  Among  his  works 
are  a  fine  group,  "  Minerva  leading  a  Young  Man  to  Battle,"  on  the 
Castle  Bridge  at  Berlin  ;  the  Francke  monument,  at  Magdebourg ;  a 
statue  of  Duke  Albert,  for  Marienburg  ;  several  statues  of  Frederick 
William  IV.,  for  different  places  ;  and  portrait-statues  and  busts  of 
Humboldt,  Hegel,  the  Crown- Princess  of  Prussia,  and  other  notable 
people.  His  last  work  was  an  equestrian  statue  of  Frederick  William 
III.,  for  Cologne.  At  the  National  Gallery,  Berlin,  is  his  statue 
called  "  Hospitality."  At  Berlin,  in  1876,  were  exhibited,  together 
with  the  last-named,  a  marble  and  a  bronze  group,  called  "  Janus." 

Blashfield,  Edwin  H.,  A.  N.  A.  (Am.)  Born  in  New  York,  1848. 
Studied  under  Bonnat  in  Paris,  sending  to  the  Salon  of  1878  "  The 
Emperor  Commodus  leaving  the  Amphitheatre  at  the  Head  of  the 
Gladiators."  His  "  Young  Poet "  was  exhibited  there  in  1875  ;  his 
"  Toreador"  and  "  Monseigneur,"  in  1876. 

Among  his  works  are,  "  Treasure  Trove,"  sent  to  the  Philadelphia 
Exhibition  in  1876  ;  an  "Interior,"  containing  two  cavaliers  of  the 
Middle  Ages,  at  the  Brooklyn  Art  Association  of  1875  ;  etc. 

Blauvelt,  Charles  F.,  N.  A.  (Am.)  Bom  in  the  city  of  New  York, 
1824.  He  studied  drawing  in  the  National  Academy,  and  received 
instruction  in  colors  from  the  late  Charles  L.  Elliott.  The  greater 
part  of  his  professional  life  has  been  spent  in  New  York,  excepting 
three  years  in  Philadelphia.  He  is  (1878)  Assistant  Professor  of 
Drawing  at  the  U.  S.  Naval  Academy,  Annapolis,  Md.  Blauvelt 
was  one  of  the  original  members  of  the  Artists'  Fund  Society  in  1859, 
being  elected  full  member  of  the  National  Academy  the  same  year. 
In  1864  he  was  elected  member  of  the  Pennsylvania  Academy  of 
Fine  Arts.  Among  the  better  known  of  Blauvelt's  works  are  "  Warm- 
ing Up  "  ;  "  The  Lost  Child,"  belonging  to  Edward  Clark,  Philadel- 
phia ;  "  The  Night  Signal "  ;  "  Waiting  for  the  Train,"  belonging  to 
Mr.  Baldwin,  Philadelphia  ;  "  Inquiring  the  Way,"  belonging  to  Mrs. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  67 


De  Mount,  New  York  ;  "  Preparing  for  School,"  property  of  Mr. 
Sturges,  Philadelphia  ;  "  Snowed  In  "  and  "  Burned  Out/'  in  the  pos- 
session of  Mr.  Hoe,  New  York  ;  and  a  number  of  small  single  figure 
subjects  in  different  collections  in  New  York  and  elsewhere.  Blauvelt 
is  a  frequent  contributor  to  the  exhibitions  of  the  National  Academy, 
New  York,  and  the  Academy  of  Fine  Arts  in  Philadelphia. 

" Blauvelt's  'Warming  Up  '  and  'Counterfeit  Bill '  have  much  truth  to  fact  and  char- 
acter." —  Tuckerman's  Book  of  the  Artists,  1867. 

Bleibtreu,  Georg.  (Ger.)  Born  at  Xanten,  1828.  Member  of 
the  Berlin  Academy,  where  he  had  received  two  medals.  Medal 
at  Vienna,  1873.  Studied  at  the  Academy  of  Dusseldorf  and  under 
Th.  Hildebrandt,  historical  and  military  painter.  At  the  National 
Gallery  at  Berlin  are  the  "  Battle  of  Koniggratz  "  and  "  Soldiers  cross- 
ing to  Alsen,  in  1864."  He  followed  the  army  in  1870  in  order  to 
study  the  subjects  of  his  pictures.  He  has  made  many  lithographs  for 
illustrated  publications.  At  the  Exposition  at  the  Royal  Academy, 
Berlin,  in  1876,  he  exhibited  "  The  Emperor  at  the  Battle-Field  of 
Vionville "  and  "  The  Meeting  of  Von  Moltke  and  Wimpfen  the 
Evening  before  Sedan." 

Bl^ry,  Eugene.  (Fr.)  Born  at  Fontainebleau,  1808.  Chevalier 
of  the  Legion  of  Honor.  This  engraver  has  been  devoted  to  his  pro- 
fession from  his  earliest  years,  and  has  produced  an  immense  number 
of  etchings,  and  sketches  in  crayon,  pen  and  ink,  etc.  Blery  has  also 
edited,  illustrated,  and  printed  some  treatises  on  Plants. 

Block,  Eugene  Francois  de.  {Belgian.')  Born  at  Grammont, 
1812.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  De  Brackeleer,  at 
Antwerp,  and  of  Van  Huffel,  at  Ghent.  His  pictures  have  been  exhib- 
ited in  Brussels,  Paris,  and  Liverpool.  They  represent  genre  subjects. 
His  "  Reading  the  Bible  "  was  purchased  by  the  Queen  of  Holland. 

"  In  his  aim  after  the  real,  De  Block  rarely  loses  sight  of  that  ideality  which  gives  a 
grace  even  to  a  commonplace  subject."  —  James  Dafforne,  Art  Journal,  March,  1866. 

Blondel,  Jacob  D.,  A.  N.  A.  (Am.)  Born  in  New  York  of  Irish 
parents  (1817-  1877).  Began  the  study  of  art  when  he  was  thirty, 
being  a  pupil  of  William  Page.  He  confined  himself  to  portraiture, 
and  before  the  War  of  the  Rebellion  had  attained  some  celebrity  in 
that  branch  of  the  profession.  He  was  particularly  remarkable  for 
the  free  effect  of  his  coloring.  The  last  years  of  his  life  were  spent 
in  misery  and  unhappiness.  In  deep  poverty  he  was  too  sensitive  to 
make  his  wants  known  to  his  friends,  and  is  said  to  have  died  of 
starvation  in  his  studio  in  New  York.  Two  of  the  latest  specimens 
of  his  work,  portraits  of  children,  are  in  the  possession  of  Mr.  Joseph 
Stuart  of  that  city.  He  was  an  Associate  Member  of  the  National 
Academy  of  Design. 

Bloomer,  H.  Reynolds.  (Am.)  Born  in  New  York,  studying  in 
Paris  under  Pelouse  and  living  in  that  city  for  some  years.    In  1877 


68      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


he  sent  to  the  Paris  Salon,  "  After  the  Shower  "  and  a  landscape  ;  in 
1878,  "  A  Waterfall  near  Cernay-la-Ville." 

To  the  Philadelphia  Exhibition  of  1876  he  sent  "El  Dorado"  ;  to 
Paris,  in  1878,  "  Old  Bridge  at  Grez." 

Bocklin,  Arnold.  (Swiss.)  Born  at  Basle,  1827.  Member  of 
the  Academy  of  Munich.  Medals  at  Berlin,  Vienna,  and  Munich. 
Pupil  of  Wilhelm  Schirmer  at  Diisseldorf.  Bocklin  has  spent  his 
professional  life  in  Eome,  Basle,  Hanover,  Munich,  and  Weimar 
(where  for  a  time  he  was  a  Professor  in  the  Art  School).  He  now 
lives  at  Florence.  At  the  Paris  Salon  of  1868  he  exhibited  "  Pe- 
trarch in  Solitude,  —  a  Landscape  "  and  "  Christ  and  the  Magdalene." 
The  last  is  in  the  Museum  at  Basle,  where  is  also  his  "  Centaur 
Struggle."  His  "  Sea  Idyl,"  which  took  a  medal  at  Berlin,  was  in 
the  Paris  International  Exposition.  A  number  of  his  pictures  are  in 
the  gallery  of  Count  A.  von  Schack  at  Munich.  S.  G.  W.  Benjamin, 
in  his  "  Contemporary  Art  in  Europe,"  gives  considerable  space  to  the 
contemplation  of  Bocklin  and  his  works,  and  though  he  praises  him, 
thinks  that  he  can  never  be  a  popular  artist,  because  he  will  not  be 
understood  by  the  masses. 

The  first  extract  given  below  is  a  part  of  that  by  Gustav  Eloerke, 
upon  the  "  Sea  Idyl,"  when  it  was  seen  at  Berlin.  It  was  translated 
by  Mr.  Sylvester  Baxter,  and  printed  in  the  Boston  Daily  Advertiser, 
April  5,  1878,  from  which  we  have  taken  it. 

"  Bocklin  is  an  artist  of  the  highest  rank.  Caring  neither  for  mode-painting  nor  for 
public,  he  has  gone  his  own  lonely  way  and  he  goes  it  still,  at  times,  indeed,  in  a  step 
so  unheeding  as  if  he  were  alone  in  the  world.  He  has  learned  much  from  the  masters 
and  just  as  much  from  nature,  and  with  both  he  knows  the  way  by  foot.  He  has  the 
poetic  intuition  of  a  grandly  picturesque  imagination,  and  also  a  high  valuation  of  the 
moment,  the  first  impression,  together  with  the  power  to  catch  and  hold  it.  Though 
with  him  this  moment  may  appear  to  be  less  than  it  is  in  actual  nature,  and,  on  the 
other  hand,  rather  to  represent  something  seen  beneath  the  surface,  Bocklin  knows  how 
to  clothe  this  image  of  his  imagination  with  more  and  grander  nature  and  to  give  it  form 
more  picturesquely  than  any  other  German  figure-painter  of  the  age.  Bocklin  would 
paint  nothing  which  did  not  poetically  interest  and  inspire  him,  although  his  percep- 
tions and  ideas  appear  so  strong  and  genuinely  picturesque  as  with  few  others.  He 
reaches  an  impression  through  the  poetic  ideas  which  are  woven  all  through  his  paint- 
ing, and  expresses  these  ideas  by  means  of  the  most  marvelous  painting. 

"Bocklin's  poesie  appears  to  be  understood  by  few.  All  the  same.  Painting  is  no 
vehicle  for  the  plain  expression  of  feelings  or  thoughts,  but  should  only  incite  them  ; 
and  it  could  little  harm  the  worth  of  a  picture  if  every  one  capable  of  receiving  impres- 
sions at  all  should  be  affected  by  it  in  a  different  way.  For  instance,  even  to-day  pro- 
fessionals and  unprofessionals  are  still  disputing  with  the  utmost  seriousness  as  to 
what  Titian's  *  Amor  sacro  e  profano '  is,  on  the  whole,  intended  to  represent.  Adolf 
Stahr,  indeed,  related  to  me  a  whole  novelette  which  he  had  read  out  of  it.  But  up  to 
this  day  I  have  not  noticed  that  the  picture  has  grown  either  better  or  worse  by  reason 
of  any  new  explanation,  or  that  it  has  thereby  gained  in  effect.  I  must  confess  that  I 
always  receive  the  highest  enjoyment  from  this  painting  when  I  simply  gaze  at  it,— then 
I  invariably  feel  myself  begin  to  glow  with  an  emotion  as  if  I  were  allowed  to  behold  the 
Eleusinian  mysteries  of  the  beautiful,  —  if  I  seek  to  do  more  if  my  understanding  begins 
to  question,  then  the  curtain  falls. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  69 


"  With  Bocklin  also  beauty  is  of  that  thousand-fold,  independent  kind  which  can  be 
traced  in  hundreds  of  details,  but  which,  however,  can  only  be  perceived  in  its  entirety 
according  to  the  subjectivity  of  the  beholder.  '  That  is  a  grand  painting,'  says  one. 
Good.  e  That  is  a  sea  in  the  presence  of  which  even  the  seaman  shudders.  That  is  the 
death  of  all  human  life,  man-hating  Nature  herself,  made  visible  unto  us  by  the  simplest 
of  means.'  Also  true.  '  And  there  where  all  life  is  paralyzed  two  beings  lie  on  a  jagged 
ledge  in  the  presence  of  the  coming  storm.  Little  care  they  for  the  weather.  That  is 
their  element,  their  delight.'  This  contrast  is  also  fine.  'The  male,  animal-like  and 
human-like,  looks  with  great  longing  eyes  —  with  what  never-to-be-forgotten  eyes  —  out 
into  the  distance.  Does  he  long  to  be  a  man,  a  poor,  fearing,  but  Godlike  man,  as  man 
made  in  the  image  of  God  seeks  to  be  like  God  ?  ....  Is  he  longing  for  a  soul  or  for  the 
lost  bliss  —  for  the  mermen  are  damned,  I  believe  ? .  . .  .  Before  the  fall  of  the  angels, 
have  these  eyes  looked  upon  God,  —  his  glory  and  his  wrath  ?  For  they  are  more  than 
human  eyes.'  I  must  allow,  dear  reader,  I  know  not  why  this  animal  body  clings  to  the 
rocks  so  convulsively,  while  the  human  soul  in  those  eyes,  unmindful  of  the  present, 
shows  something  entirely  different  from  storm-dread.  And  near  by  carelessly  reclines 
his  bodily,  more  beautiful  companion,  —  a  humanly  beautiful  naked  woman.  She  enjoys 
lightly  the  deadly  weather  in  which  only  her  kind  come  to  the  surface.  When  she  sees 
the  dreamer  she  will  laugh  at  him  and  carelessly  drag  him  down  with  her  into  their 
home-depths  What  know  I  ?  Bocklin  has  seen  the  dreadness  of  the  sea  in  mo- 
ments when  only  the  secret  beings  of  the  depths  venture  up,  and  he  makes  us  look  into 
the  fable-like  reality  of  still  undiscovered  existences .  This  time  it  is  no  mere  chance  if 
this  '  sea  lion  '  has  never  yet  appeared  unto  the  honorable  public.  Out  there  where  the 
Sunday-child  Bocklin  has  seen  it  rise  up  longingly,  there  are  no  reserved  seats,  neither 
for  naturalists  nor  for  inquisitive  every-day  men.  Even  the  most  enterprising  special 
correspondent  would  have  been  devoured  or  blown  away  long  before  coming  thither, 
where  Nature  is  at  home  in  that  way  !  " 

"  The  picture  of  Bocklin,  called  "  A  Nymph  and  Fauns,"  has  raised  a  tempest ;  it  has 
become  an  object  of  jesting  with  the  public  which  reproaches  him  with  an  uncouth  ap- 
pearance, and  a  matter  of  commiseration  to  his  friends,  who  deplore  this  error  in  a  man 
of  talent.  It  is  then  something  out  of  the  ordinary,  and  for  this  reason  merits  attention. 
Let  us  examine  it  without  prejudging  it.  It  is  spring-time,  —  the  turf  and  flowers  are 
dazzling  in  their  brilliant  colors,  the  sky  is  blue,  some  winged  children  dance  joyously  in 
the  air.  The  nymph  of  the  fountain  is  in  a  state  of  ecstasy  because  spring  has  come  again ; 
clad  with  a  drapery  of  blue  gauze,  she  leans  her  elboAvs  on  a  rustic  urn,  and  listens  to  a 
little  bird  perched  on  her  finger  ;  he  tells  her  where  he  has  passed  the  winter,  how  much 
he  desired  to  return  to  her,  and  he  celebrates  in  his  way  the  grandeur  of  Nature,  which 
has  put  on  new  life.  Our  nymph  perceives  not  that  she,  in  her  turn,  is  the  object  of  an 
admiration  which,  although  coarse  and  timid,  is  none  the  less  profound.  Two  fauns  — 
one  almost  a  child,  meager,  hairy,  ugly  as  a  bear  half  licked  ;  the  other  older,  red,  out 
of  breath,  the  face  puffed  up  like  a  cow-herd,  the  body  distended  by  fat  —  approach  the 
fountain,  and  while  the  old  one  painfully  ascends  the  hillock  whence  gushes  the  spring, 
the  younger  one  awkwardly  reaches  out  his  hand  to  receive  the  water  which  flows  from 
the  urn.    They  seem  ashamed  and  embarrassed,  because  they  know  how  ugly  they  are  ; 

so  ugly  that  more  than  one  visitor  turns  away  with  indignation  As  to  the  color, 

it  has  been  discovered  to  be  false  ;  a  thing  easy  to  see,  because  the  artist  has  had  the 

good  sense  to  neglect  values  and  shades  in  so  fantastic,  a  picture  Bocklin  has 

wished  to  represent  the  eternal  contrast  between  beauty  and  ugliness,  and  has  sought 
to  give  to  this  commonplace  subject  a  new  and  artistic  form.  Instead  of  representing 
Quasimodo  and  Esmeralda,  he  has,  by  an  inspiration  of  genius,  invented  a  scene  which 
appears  to  be  taken  from  life,  and  yet  has  a  poetic  character;  he  has  treated  it  with  a 
fantasy  and  a  naivete  worthy  of  antiquity.  Above  all,  he  has  poured  over  his  canvas  a 
perfume  of  youth  and  gayety  which  makes  us  forget  the  ugliness  of  the  fauns,  and  leaves 
only  a  harmonious  and  poetic  souvenir  of  the  whole."  —  Eugene  Muntz,  Gazette  des 
Beaux-Arts,  October,  1869. 


70       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  A.  Bocklin,  with  all  his  peculiarities,  has  always  succeeded  in  being  original  in  his 
design  and  interesting  in  his  manner  of  painting.  This  time  we  have  a  Flora  before  us,  a 
lively  goddess  in  a  rococo  nightdress,  with  a  violet-colored  scarf  and  red  velvet  shoes, 
walking  through  the  meadow  scattering  flowers.  In  the  background  we  see  snow  on  the 
mountains,  but  the  sun,  which  has  brought  forth  the  freshness  in  the  valleys,  has  melted 
these  last  remnants  of  winter,  and  the  mountain  brooks  flow  merrily  along  the  path  of 
our  Flora.  An  idea  certainly  poetical  in  itself,  but  how  disagreeably  rendered  !  Bock- 
lin, in  his  latest  works,  intentionally  seeks  Farbendissonanzen  [dissonant  colors],  and 
in  ugliness  of  form  exceeds  possibilities.  In  such  draperies  no  one  could  exist,  —  the 
nude  parts  are  woodeny  and  shapeless,  the  color  is  sharp,  and  yet,  with  all  these  faults, 
his  pictures  are  interesting,  —  the  strange  form  will  rest  in  one's  memory  against  the 
will,  like  a  melody  that  it  vexes  one  not  to  forget."  —  Beiblatt  zur  Zeitschrift  fur  bildende 
Kunst,  November  17,  1877. 

Bodmer,  Karl.  (Swiss.)  Born  at  Zurich,  1805.  Chevalier  of  the 
Legion  of  Honor.  This  artist,  after  the  completion  of  his  studies, 
traveled  in  North  America  and  other  countries,  and  made  his  debut 
at  the  Salon  in  Paris  in  1836.  He  has  since  resided  both  in  Paris 
and  Germany,  and  has  exhibited  at  nearly  every  salon  :  in  1878  two 
pictures,  one  an  autumn  and  one  a  summer  scene  ;  in  1877,  "  The 
Preliminaries  of  a  Combat "  ;  in  1875,  "  Haute  futaie "  and  three 
typographical  etchings  ;  in  1874,  "  A  Quarry  in  the  Forest  of  Fon- 
tainebleau,  Winter  of  1870-71  "  ;  in  1872,  "  The  Border  of  a  Marshy 
Forest "  and  "  The  Outskirts  of  a  Field  "  ;  in  1870,  "  A  Fox  Terrier," 
etc.  His  "  Interior  of  a  Forest  in  Winter  "  (1850)  is  in  the  Luxem- 
bourg. Bodmer's  etchings  are  numerous  and  very  fine.  The  follow- 
ing quotation  relates  to  them  :  — 

"  He  is  an  artist  of  consummate  accomplishment  in  his  own  way,  and  of  immense 
range.  There  is  hardly  a  bird  or  quadruped  of  Western  Europe  that  he  has  not  drawn, 
and  drawn,  too,  with  a  closeness  of  observation  satisfactory  alike  to  the  artist  and  nat- 
uralist. The  bird  or  the  beast  is  always  the  central  subject  with  Karl  Bodmer,  but  he 
generally  surrounds  them  with  a  graceful  landscape,  full  of  intricate  and  mysterious 
suggestions,  with  here  and  there  some  plant  in  clearer  definition,  drawn  with  perfect 
fidelity  and  care."  —  P.  G.  Hamerton,  Portfolio,  February,  1873. 

Boe,  Francois  Didier.    (Nor.)    Born  at  Bergen,  1820.    Pupil  of 

the  Academy  of  Copenhagen  and  of  the  painter  Groenland.  This 
artist  paints  principally  flowers,  fruits,  and  birds.  His  "  Bunch  of 
Grapes  "  (1850)  was  purchased  for  the  Louvre.  He  has  frequently 
sent  pictures  to  Paris,  which  have  been  much  admired.  He  received 
a  medal  at  Vienna  in  1873,  and  an  Honorable  Mention  at  Stockholm 
in  1866.  At  the  Paris  Exposition  of  1878  he  exhibited  three  pictures 
of  fruits  and  flowers,  and  one  landscape,  "  A  View  of  Mountains  in 
Norway." 

Boehm,  Joseph  Edgar,  R.  A.  (Austrian-British.)  Born  at 
Vienna,  1834.  At  the  age  of  fifteen  he  went  to  London,  studying 
from  the  Elgin  Marbles  and  from  copies  of  the  old  masters  in  the 
British  Museum,  subsequently  working  in  Italy,  Paris,  and  Vienna. 
He  settled  in  London  in  1862,  and  became  a  British  citizen  three  years 
later.  He  was  made  a  member  of  the  Academy  of  Florence  in  1875, 
an  Associate  of  the  Royal  Academy  of  Great  Britain  in  1878.  Among 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  71 


his  statuettes  are  those  of  John  Leech,  Millais,  Thackeray,  and  other 
prominent  contemporary  Englishmen.  He  executed  the  colossal  stat- 
ues of  the  Queen  at  Windsor,  the  Prince  of  Wales  for  Bombay,  and 
that  of  Lord  Northbrook  for  Calcutta.  Among  his  statues  are  those 
of  Thomas  Carlyle,  John  Bunyan  in  Bedford,  Sir  John  Burgoyne  in 
Waterloo  Place,  London,  Lord  Napier  of  Magdala  (to  go  to  India),  the 
Duke  of  Kent  in  Windsor  Castle,  and  of  other  members  of  the  Royal 
Family.    [R.  A.  1882.] 

"  For  this  noble  piece  of  portraiture  [Thomas  Carlyle,  by  Boehm]  I  cannot  trust  my- 
self to  express  my  personal  gratitude  Here  is  a  piece  of  vital  and  essential  sculp- 
ture ;  the  result  of  sincere  skill,  spent  carefully  on  a  subject  worthy  of  care ;  motive 
and  method  alike  right;  no  pains  spared  and  none  wasted."  —  Ruskin's  Notes  of  the 
Academy,  1875. 

Boenisch,  Gustav  Adolf.  (Ger.)  Born  at  Troppau  (Silesia), 
1802.  Member  of  the  Academy  at  Berlin.  Studied  architecture  at 
Berlin,  and  was  also  a  pupil  of  Wach.  Traveled  in  Scandinavia, 
remained  some  time  at  Heligoland.  He  paints  landscapes  and  draws 
remarkably  well.  At  the  National  Gallery  at  Berlin  are  two  Nor- 
wegian views  by  Boenisch,  and  another  taken  near  Breslau. 

Boeswillwald,  Emile.  (Fr.)  Born  at  Strasbourg,  1815.  Offi- 
cer of  the  Legion  of  Honor.  This  architect  has  held  various  offices 
and  superintended  important  works,  among  which  may  be  mentioned 
the  restoration  of  the  church  of  Notre  Dame  at  Laon,  and  that  of  the 
Central  Rabbinical  School  at  Metz. 

Bogle,  James,  N.  A.  (Am.)  Born  in  South  Carolina  (1817  - 1873). 
Evinced  in  youth  a  strong  taste  for  art,  and  removed  to  New  York 
in  1836,  where  he  studied  under  Professor  Morse,  confining  his  atten- 
tion to  portrait-painting,  making  for  himself  an  excellent  reputation 
in  that  city  and  in  the  South.  Among  his  early  sitters  were  Calhoun, 
Clay,  Webster,  and  other  distinguished  men;  his  portraits  of  John  A. 
Dix  and  Henry  J.  Raymond  were  among  his  later  works.  He  was 
elected  an  Associate  of  the  National  Academy  in  1850,  and  Academi- 
cian in  1861.  He  exhibited  but  rarely  during  the  last  years  of  his 
life,  his  declining  health  interfering  with  the  active  pursuit  of  his 
profession. 

Bogoluboff,  Alexis  P.  (Russian.)  At  Philadelphia  he  exhibited 
two  pictures,  the  "  Ice-Drift  on  the  Neva  n  and  "  A  Landscape,"  and 
received  a  medal. 

Boit,  Edward  D.  (Am.)  He  began  his  art  studies  in  Boston, 
his  native  city.  Going  to  the  Continent  some  years  ago,  he  became 
a  pupil  of  Francais  in  Paris,  and  is  at  present  (1884)  living  in  that 
city.  He  has  also  studied  and  painted  in  Rome.  He  sent  to  the 
Paris  Exposition  of  1878  "  Beach  of  Villers,  Normandy."  He  has 
contributed  to  the  Paris  Salon,  among  others,  "  La  Plage  de  Villers 
(Calvados),"  in  1876. 

Boldini,  G.  (Ital.)  Born  at  Ferrara,  1844.  Paints  in  the  style  of 
Fortuny.   At  the  Johnston  sale  in  New  York,  in  1876,  "A  Scene  in  an 


72       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Orchard  "  (9  by  13)  sold  for  $  2,150.  At  the  Walters  Gallery,  Balti- 
more, is  a  picture  by  him  of  a  "  Lady  sitting  under  a  Tree  feeding 
Poultry/'  of  which  the  Sunday  Bulletin,  February  12,  1876,  speaks 
in  high  praise,  and  says,  "  the  handling  is  bold  and  simple,  and  the 
result  extremely  pleasing."  In  his  figure  subjects,  which  always  sug- 
gest Meissonier  (and  suggest  him  to  the  disadvantage  of  Boldini), 
this  artist  is  less  happy  than  in  his  landscapes.  His  effects  of  light 
and  his  glorious  sunshine  make  his  pictures  in  this  department  most 
pleasing.    Among  his  subjects  is  "  The  Connoisseur." 

"  Boldini's  painting  of  sunshine  and  of  daylight  is,  as  we  have  said,  triumphant;  the 
purest  warmth  and  clearness  of  coloring  and  of  lighting  are  seen  in  his  best  and  most 
characteristic  works.  Great  breadth  of  light,  delicious  purity  of  tint,  brightness  and 
sparklingness  and  pearliness,  — these  are  the  qualities  in  which  he  excels,  and  in  which 
is  displayed  his  genuine  artistic  work.  ....  In  the  foreground  he  will  put  a  namby- 
pamby,  heartless  woman  to  whom  a  ridiculous  dandy  is  making  love  ;  but  so  skill- 
fully does  he  cause  the  figures  to  play  their  part  in  his  scheme  of  chiaroscuro  and  color 
that,  even  if  inanimate,  they  would  scarcely  be  out  of  place.  The  souls  whioh  they 
have  not  are  in  the  sunshine,  the  grass,  and  the  flowers  ;  and  we  may  say  of  him,  as  has 
been  said  of  another  master  of  the  palette,  that  if  he  is  an  ass  in  painting  an  angel,  he  is 
an  angel  in  painting  an  ass."  —  Art  Journal,  July,  1878. 

Bonheur,  Marie-Rosa.  (Fr.)  Born  at  Bordeaux,  1822.  Member 
of  the  Institute  of  Antwerp  and  of  the  Legion  of  Honor.  Pupil  of  her 
father,  Baymond  Bonheur,  a  good  artist,  who  died  in  1853.  Hamerton 
calls  Rosa  Bonheur  "  the  most  accomplished  female  painter  who  ever 
lived."  She  is  a  pure  and  generous  woman  as  well,  and  can  hardly  be 
too  much  admired,  whether  we  regard  her  as  woman  or  artist.  It  is 
scarcely  more  unusual  to  find  talent  like  hers  than  to  find  a  woman  who 
can  preserve  her  good  name,  and  enjoy  the  absolute  freedom  from  con- 
ventionalities necessary  to  such  an  artistic  career  as  that  of  Rosa  Bon- 
heur ;  her  studies  having  placed  her  in  contact  with  men  and  circum- 
stances not  often  met  by  artists  of  her  sex.  She  made  her  debut  at  the 
Salon  of  1841,  to  which  she  sent  two  small  pictures,  "  Goats  and  Sheep  " 
and  "  Two  Rabbits."  During  nine  following  years  she  contributed  to 
every  salon,  but  passed  over  1851  and  '52,  and  exhibited  in  1853 
her  famous  "  Horse  Fair."  At  the  Expositions  of  1855  and  '67  her 
works  were  admired  by  all  the  world.  This  artist  has  also  exhibited 
a  few  pieces  of  sculpture,  which  have  not  increased  her  fame.  Many 
of  her  pictures  are  in  England,  where  enormous  prices  have  been  paid 
for  them.  Hamerton  says,  "  I  have  seen  work  of  hers  which,  accord- 
ing to  the  price  given,  must  have  paid  her  a  hundred  pounds  for  each 
day's  labor."  She  is  simple  in  her  tastes  and  habits  of  life,  and  many 
stories  are  told  of  her  generosity  to  others.  In  1849  she  took  the 
direction  of  the  Free  School  of  Design  for  Girls,  which  she  founded, 
where  she  is  assisted  by  her  sister  Juliette,  now  Madame  Peyrol. 

Many  of  the  pictures  of  Rosa  Bonheur  are  well  known  by  the  en- 
gravings from  them.  Among  her  principal  works  may  be  mentioned 
"  Plowing  in  the  Nivernais  "  (at  the  Luxembourg),  "  Sheep  on  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  73 


Seashore  "  (exhibited  in  1867,  and  purchased  by  the  Empress  Euge- 
nie), "Haymaking  in  Auvergne,"  "Oxen  and  Cows,"  "The  Three 
Musketeers,"  "Stags  crossing  an  open  Space,"  "Cows  and  Sheep 
in  a  Roadway  Hollow,"  etc.  This  artist  has  painted  a  few  portraits. 
She  presented  to  George  Sand  a  portrait  of  that  writer  when  twenty- 
five  years  old,  and  in  the  costume  in  which  Rosa  Bonheur  first  saw 
her.  At  the  Sale  Wertheimber,  Paris,  1861,  "A  Flock  of  Sheep  in 
Repose,  in  the  midst  of  the  Heath,  in  the  Mountains  of  Scotland  " 
(only  15  by  65  centimeters)  brought  14,550  francs.  At  the  sale  of 
Mr.  Belmont's  pictures  in  New  York,  in  1872,  "Returning  to  Pasture" 
sold  for  about  $5,050.  At  the  Knowles  sale,  London,  1865,  "Span- 
ish Muleteers  crossing  the  Pyrenees  "  sold  for  2,000  guineas.  At  the 
Blodgett  sale,  New  York,  1876,  "  A  Landscape  with  Animals  "  sold 
for  $5,100.  At  the  Latham  sale,  New  York,  1878,  "Highland  Cat- 
tle "  (17  by  52)  brought  $610;  and  "Noonday  Repose,  —  Sheep  " 
(18  by  24),  $4,000.  During  the  investment  of  Paris,  1870-71,  the 
Prmce  Royal  of  Prussia  gave  the  strictest  orders  that  the  house 
and  studio  of  Rosa  Bonheur  at  Fontainebleau  should  not  be  in  any 
manner  disturbed.  Vapereau  says,  "  She  is  praised,  above  all,  for  firm- 
ness of  design  and  for  the  grand  character  of  her  landscapes." 

"  But  the  greatest  animal-painter  now  in  France  is  probably  Rosa  Bonheur.  There  is 
the  same  intense  observation  and  sympathy  with  Nature,  the  same  vigor  of  treatment, 
we  find  in  the  works  of  Troyon  and  Landseer.  More  refinement  than  in  Troyon,  with 
rather  less  power,  but  more  power  than  in  Landseer,  so  far  as  the  representation  of  cat- 
tle is  concerned."  —  S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

Bonheur,  Francois-Auguste.  (Fr.)  Born  at  Bordeaux,  1824. 
Chevalier  of  the  Legion  of  Honor.  Brother  of  Rosa  Bonheur  and 
pupil  of  his  father.  At  the  Salon  of  1845  he  exhibited  "  Children 
and  Cockchafers."  He  traveled  in  the  Pyrenees,  Auvergne,  etc.,  and 
made  sketches  for  his  finest  pictures.  His  portraits  of  his  father  and 
sister  (1847  and  '48)  are  his  best  efforts  in  portraiture.  Like  hia 
sister,  he  paints  oxen  with  remarkable  truthfulness,  but  in  her  over- 
shadowing fame  that  of  the  brother  has  been  lessened,  and  he  has  not 
always  received  the  praise  justly  his  due.  The  following  are  some  of 
his  works  :  "  The  Ruins  of  Apchon  "  (purchased  by  M.  de  Moray)  ; 
"  The  Coasts  of  Brageac"  (Museum  at  Amiens)  ;  "  The  Gorges  of  Puy- 
Grion"  (purchased  by  the  State)  ;  "Herd  of  Cows"  (1859);  "Meet- 
ing of  two  Herds  in  the  Pyrenees  "  (1861)  ;  "  Return  from  the  Fair" 
(1864) ;  "  Souvenir  of  Auvergne,"  "  Souvenir  of  the  Pyrenees  "  (1867)  ; 
"Environs  of  Jalleyrac,"  "  The  Shepherd  and  the  Sea "  (1868) ;  "  The 
Lost  Road,"  a  souvenir  of  the  Pyrenees  (1869) ;  "  Souvenir  of 
Auvergne "  (1874)  ;  "  Avant  la  pluie "  (1875).  At  a  London  sale, 
1872,  "  Cattle  returning  Home  "  sold  for  240  guineas.  This  artist  has 
sometimes  sent  his  works  to  the  London  Academy  exhibitions.  At 
the  Salon  of  1878  he  exhibited  the  "Valley  of  the  Jordanne  "  and  a 
u  Landscape  with  Animals."  [Dieti,  1884.] 
4 


74       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Bonheur  is  a  hearty  realistic  painter,  fresh  in  color,  healthful  in  feeling,  with  an 
out-door  consciousness  of  work  about  his  pictures  ;  not  imaginative,  inclined  to  the 
literal,  but  possessing  the  ability  —  in  which  his  sister  is  deficient  — of  giving  vitality 
to  his  work."  — Jarves,  Art  Thoughts. 

"  Auguste  Bonheur  has  dared  — and  it  is  great  audacity  —  to  unvarnish  nature,  to  take 
away  the  smoke  and  the  dirt,  to  wash  oft"  the  bitumen  sauce  with  which  art  ordinarily 
covers  it,  and  he  has  painted  it  as  he  sees  it.  His  animals  have  the  soft  and  satin-like 
skin  of  well-to-do  animals  ;  his  foliage,  the  bright  freshness  of  plants  washed  by  the  rain 
and  dried  by  the  sun.  Certain  parts  are  complete  in  deception,  and  produce  the  illusion 
of  relief  like  the  stereoscope ;  .  .  .  .  doubtless  this  illusion  is  unnecessary  in  historical 
painting,  where  the  ideal  and  style  should  predominate  ;  but  it  adds  a  charm  to  the  rep- 
resentation of  physical  nature."  —  Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 

Bonheur,  Jules  Isidore.  (Fr.)  Born  at  Bordeaux,  1827.  Medals 
1865  and  '67.  Brother  of  Rosa  Bonheur.  Sculptor  and  painter. 
He  studied  with  his  father,  and  made  his  debut  at  the  Salon  of  1848 
with  a  canvas  and  a  marble,  each  representing  a  "  Combat  between 
a  Lioness  and  an  African  Horseman."  Since  then  he  has  abandoned 
painting.  His  specialty  is  the  representation  of  animals.  "The 
Zebra  and  Panther "  has  been  cast  in  bronze  for  the  government. 
"The  Bull  "(1865),  "  Dromedary  "  and  "  Royal  Tiger"  (1868),  "A 
Lioness  and  her  Young"  (1869),  "An  Ox  and  a  Dog"  (1870),  "A 
Mare  and  Colt"  (1872),  "Pepin  le  Bref  in  the  Arena"  (1874),  and 
"  The  Tiger-Hunter  "  (1877)  may  be  mentioned  among  his  most  im- 
portant works.  At  the  London  Academy,  in  1875,  he  exhibited  "  The 
Head  of  a  Running  Dog  "  and  "  The  Head  of  a  Dog  at  Rest,"  both  in 
bronze.  In  1878  he  exhibited  two  groups  in  plaster,  "Chevalde 
course  "  and  "  Cheval  de  manege." 

Bonheur,  Juliette,  now  Madame  Peyrol.  (Fr.)  Born  at  Paris, 
1830.  Sister  of  Rosa  Bonheur  and  also  a  pupil  of  her  father.  Her 
pictures  are,  "  A  Flock  of  Geese,"  "  A  Flock  of  Sheep  lying  down," 
and  kindred  subjects.  The  last  was  much  remarked  at  the  Salon  of 
1875.  Madame  Peyrol  is  well  known  by  her  association  with  her 
sister  in  the  care  of  the  Free  School  of  Design,  founded  in  1849  by 
the  latter.  To  the  Salon  of  1878  she  sent  "  The  Pool "  and  "  The 
Mother's  Kiss." 

Bonnassieux,  Jean  Marie.  (Fr.)  Born  at  Pannassiere,  1810. 
Member  of  the  Institute  and  Chevalier  of  the  Legion  of  Honor. 
Among  the  works  of  this  sculptor  may  be  mentioned,  "  Love  cutting 
his  Wings"  (1842),  at  the  Luxembourg  ;  "Jeanne  Hachette,"  for  the 
garden  of  the  Luxembourg ;  "  The  Virgin  Mother,"  for  the  church 
of  Feurs  ;  the  busts  of  Ballanche  and  Ampere,  for  the  Museum  at 
Lyons  ;  etc.  Bonnassieux  was  commissioned  to  decorate  the  new 
sehurch  of  St.  Augustin  at  Paris. 

"  Bonnassieux  presents  the  perfected  expression  of  that  elevated  mysticism  which  has 

been  the  soul  of  the  artists  of  Lyons  of  this  century  Bonnassieux  possesses  that 

flexibility  of  nature  without  which  there  is  no  true  artist,  because  that  alone  gives 
variety  and  fruitfulness.  Add  to  this  flexibility  a  knowledge  which  has  no  artifice,  no 
trick,  not  even  the  most  legitimate  ones  ;  his  execution  is  as  naive  as  his  conception  of 
his  subject.    It  is  a  pleasure,  in  this  day  of  charlatanism,  to  find  a  talent  exempt  from 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  75 


all  deceit  in  processes,  —  and  this  sincerity  serves  him  better  than  could  the  most  adroit 
trickery." —  Emile  Montegut,  Revue  des  Deux  Mondes,  August,  1874. 

Bonnat,  Leon-Joseph-Florentin.  (Fr.)  Born  at  Bayonne,  1833. 
Officer  of  the  Legion  of  Honor.  He  studied  under  Frederic  Madrazo 
at  Madrid,  and  came  to  Paris  when  twenty-one  years  of  age,  and 
placed  himself  under  the  direction  of  Leon  Cogniet.  He  took  the 
second  grand  prix  de  Rome,  which  did  not  entitle  him  to  enter  the 
Villa  Medicis,  but  in  1858  his  friends  in  Bayonne  furnished  means  for 
him  to  go  to  Italy,  where  he  remained  four  years.  The  first  work  of 
Bonnat's  which  received  attention  was  "  Adam  and  Eve  finding  the 
Body  of  Abel "  (1860)  ;  this  was  bought  for  the  Gallery  at  Lille.  In 
1863  his  "Pasqua  Maria"  attracted  much  attention,  and  he  followed 
with  a  number  of  small  Italian  genre  pictures,  which  seemed  to  be 
his  forte.  In  1865  he  exhibited  an  historical  subject,  "Antigone 
leading  the  Blind  (Edipus,"  which  was  only  moderately  praised  ;  in 
1866  his  "  St.  Vincent  de  Paul  taking  the  Place  of  a  Prisoner,"  com- 
missioned by  the  city  of  Paris,  was  received  with  much  favor  ;  in  1869 
the  "  Assumption  "  was  so  much  admired,  that  he  was  encouraged  to 
paint  the  "  Christ  on  the  Cross,"  which  appeared  in  1874,  and  was  a 
commission  for  the  Palais  de  Justice.  In  1877  Bonnat  exhibited  a 
"Portrait  of  M.  Thiers";  in  1876,  "A  Negro  Barber"  (Suez)  and 
"  The  Wrestling  of  Jacob  "  ;  in  1873,  "  A  Turkish  Barber,"  belonging 
to  M.  Schwabacher,  and  "  Scherzo,"  belonging  to  M.  Gorfounkel  ;  in 
1872,  "  Sheiks  of  Akabah  "  (Arabia  Petrea)  and  "A  Woman  of  Usta- 
ritz"  ;  in  1870,  "A  Fellah  Woman  and  her  Child"  and  "A  Street  in 
Jerusalem,"  belonging  to  M.  Pascault  ;  etc.  At  the  Oppenheim  sale, 
Paris,  1877,  "  Italian  Dancers  "  sold  for  15,000  francs.  At  the  Salon 
of  1878  he  exhibited  two  portraits.  The  "  Elder  Sister,"  a  very 
beautiful  piece  of  color,  belongs  to  Mr.  H.  P.  Kidder,  and  attracted 
much  attention  at  the  Mechanics'  Fair  in  1875. 

"  The  popularity  which  he  has  now  enjoyed  for  some  years  is  chiefly  owing  to  his 
small  Italian  pictures.  But  whatever  may  be  the  talent  and  thought  spent  upon  cabi- 
net pictures,  an  artist  who  has  lived  in  Rome,  and  studied  the  great  masters,  can  hardly 
remain  satisfied  with  a  kind  of  success  so  different  from  the  dreams  of  his  youth.  M. 
Bonnat,  in  consequence,  has  simultaneously  followed  two  directions,  which  seem  op- 
posed to  each  other,  and  the  painter  of  the  graceful  little  figures,  so  hotly  disputed  by 

amateurs,  has  never  forgotten  that  he  ought  to  be  an  historical  painter  Is 

'  Christ  on  the  Cross '  to  be  shown  to  us  as  the  God  who  dies  for  the  human  race,  or  simply 
as  a  tortured  man  writhing  in  his  last  agony  ?  To  this  last  interpretation  M.  Bonnat 
adhered,  and,  his  point  of  view  once  admitted,  it  must  be  acknowledged  that  he  has 
fairly  succeeded.  The  sufferer,  in  the  midst  of  the  most  horrible  pain,  seems  to  strain 
in  a  last  effort ;  his  muscles  contract,  his  veins  swell,  and  the  light,  which  brings  all  into 
pitiless  relief,  clearly  defines  each  swollen  limb,  and  makes  the  strangest  and  most 
striking  trompe-l'ceil.  But  if  the  passing  from  life  to  death  is  rendered  with  almost 
brutal  reality,  the  emotion  stirred  by  it  is  more  repulsive  than  touching.  It  is  not  the 
Redeemer  emaciated  by  fasts, nor  the  Son  of  God  suffering  but  resigned;  it  is  a  vulgar 
man,  who  has  lived  a  common  life,  and  whose  body  undergoes  tortures  in  which 
the  soul  does  not  share.  Under  the  Roman  Empire  criminals  were  constantly  cruci- 
fied, and  it  is  of  them  more  than  of  Christ  that  we  are  reminded  by  M.  Bonnat's 


76       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


picture.  The  horrible  suffering  of  the  victim  obliges  us  to  pity  him  ;  but  the  picture 
■will  not  make  us  admire  him  or  help  us  to  understand  him.  It  was  a  commission  for 
the  Palais  de  J ustice.  The  condemned  culprits  may,  on  seeing  it,  be  reminded  fearfully 
of  death,  but  they  will  experience  no  other  feeling.  The  moral  meaning  of  the  subject 
has  assuredly  not  been  understood  by  the  artist,  although  he  has  produced  a  piece  of 
painting  sure  to  be  always  appreciated  by  dilettanti,  in  spite  of  the  somewhat  brazen  ap- 
pearance of  the  flesh,  which  has  been  criticised  with  some  degree  of  reason."  —  Renjs 
Menard,  The  Portfolio,  May,  1875. 

Bonnegrace,  Charles- Adolphe.  (Fr.)  Bora  at  Toulon,  1812. 
Chevalier  of  the  Legion  of  Honor  and  of  the  Order  of  Saints  Maurice 
and  Lazarus.  Pupil  of  l'^cole  des  Beaux- Arts  and  of  Baron  Gros. 
Made  his  debut  at  the  Salon  of  1834.  This  artist  painted  "The 
Manna  in  the  Desert "  for  the  church  of  Saint-Louis  en  l'lle  ;  "  Diffi- 
dence conquered  by  Love,"  for  the  Emperor,  in  1861  ;  "  Jesus  among 
the  Doctors,"  for  the  city  of  Toulon  ;  etc.  He  has  painted  many  ex- 
cellent portraits,  some  of  which  belong  to  the  government.  At  the 
Salon  of  1878  he  exhibited  two  portraits.    [Died,  1882.] 

Bonvin,  Francois-Saint.  (Fr.)  Born  at  Vaugirard  (Paris),  1817. 
Chevalier  of  the  Legion  of  Honor.  Painter  of  small  genre  pictures 
resembling  those  of  the  Flemish  school.  "The  School  of  Little 
Orphans"  (1850)  is  in  the  Museum  of  Langres  ;  "Charity"  (1852),  in 
the  Museum  of  Niort.  At  the  Paris  Salon  of  1877  he  exhibited  "  Le 
couvreur  tombe "  (hospital  scene)  and  a  water-color  of  "  A  Woman 
Watching"  (effect  of  lamplight)  ;  in  1876,  "  Gravesend,  near  Lon- 
don "  and  "  The  Abandoned  Boat,  —  Banks  of  the  Thames  "  ;  etc.  At 
the  Salon  of  1878  he  exhibited,  "  L'apprenti  cordonnier,"  belonging  to 
M.  Seure,  and  an  "Autumn  Evening  at  Port-Marly." 

Boott,  Elizabeth.  (Am.)  Born  in  Cambridge,  Mass.  She  has 
studied  on  the  Continent  for  some  years,  lately  in  Paris  with  Couture. 
She  exhibited  a  number  of  her  works  in  Boston  in  the  autumn  of 
1877  and  in  the  winter  of  1884.  She  sent  a  portrait  to  the  Phila- 
delphia Exhibition  of  1876  ;  and  "  Head  of  a  Tuscan  Ox  "  and  "  Old 
Man  Beading  "  to  the  Mechanics'  Fair  in  Boston  in  1878. 

Borjesen,  J.  (Swede.)  At  Philadelphia  he  exhibited  "  The  Lady 
of  the  Lake  "  and  "  Psyche,"  and  received  a  medal. 

Borsato,  Giuseppe.  (Ital.)  Born  at  Venice,  1800.  Member  and 
Professor  of  the  Academy  of  Venice.  This  artist  has  painted  excellent 
pictures  of  the  principal  sites  and  monuments  of  his  native  city,  such 
as  "  The  Bridge  of  Sighs,"  "  The  Palace  of  the  Doges,"  "  The  Rialto," 
etc.,  and  a  series  of  views  on  the  Roman  Campagna.  He  is  also  the 
author  of  "  Opera  ornamentale  pubblicato  per  cura  dell'  academia  di 
belle-arti  de  Venezia,  1831." 

Bosboom,  Johannes.  (Dutch.)  Bornat  TheHague,  1817.  Knight 
of  the  Order  of  the  Lion  (Netherlands),  of  the  Crown  of  Oak,  and  of 
the  Order  of  Leopold.  At  the  Exposition  of  1855  he  obtained  a 
medal  of  the  third  class,  and  a  medal  at  Philadelphia  in  1876.  Pupil 
of  B.  J.  Van  Bree.    His  pictures  are  views  of  towns  and  interiors. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  77 


In  1855  he  sent  to  Paris,  "  Franciscan  Monks  singing  a  Te  Deum," 
purchased  by  M.  Volcker  of  The  Hague  ;  "  Holy  Communion  in  a 
Protestant  Church,"  purchased  by  M.  Fodor  ;  and  "  Hall  of  the  Con- 
sistory at  Nimeguen."  In  1867  he  exhibited  an  interior  from  the 
church  at  Alkmaar  and  another  from  the  Cathedral  of  Rotterdam. 
His  "  Large  Protestant  Church  at  Amsterdam  "  was  purchased  by  the 
King  of  Bavaria,  and  his  "  Tomb  of  Engelbert  II.,  Count  of  Nassau, 
in  the  Church  of  Breda,"  is  a  notable  picture.  At  the  Wilson  Expo- 
sition in  Brussels,  in  1873,  was  seen  his  "Le  Buffet  d'Orgues." 

Bosio,  Astyanax  Scsevola,  called  "  young  Bosio."  (Fr.)  Born 
at  Paris  (about  1798-1876).  Chevalier  of  the  Legion  of  Honor. 
The  father  of  this  sculptor  was  a  painter  of  history.  His  uncle,  the 
celebrated  Baron  Bosio,  was  a  sculptor,  and  the  instructor  of  Bosio  the 
younger.  He  made  his  debut  at  the  Salon  of  1831.  Among  his 
works  are  a  bas-relief  on  the  Arc  de  Triomphe  ;  a  statue  of  "  St.  Ade- 
laide," at  the  Madeleine;  and  a  group  of  four  caryatides  at  the  Louvre. 

Bottinelli,  Antonio.  (Ital.)  Of  Borne.  At  Philadelphia  this  sculp- 
tor exhibited  "Modesty,""  Hope,"  "  Vanity,"  etc.,  and  received  a  medal. 

Boucher,  Alfred.  (Fr.)  Born  at  Nogent-sur-Seine.  Medal  of 
the  third  class  in  1877  and  the  second  class  in  1878.  Pupil  of  A. 
Dumont,  Ramus,  and  P.  Dubois.  At  the  Salon  of  1878  he  exhibited 
a  statue,  plaster,  of  "  Eve  after  the  Fall,"  and  a  portrait-bust  of  M. 
Fugere  of  the  Opera-Comique  ;  in  1875,  a  statue  of  "  The  Young 
Fulvius,"  etc. 

Bough,  Samuel.  (Brit.)  Born  at  Carlisle,  1822.  He  was  com- 
paratively self-taught  as  an  artist,  beginning  his  professional  career 
as  a  scene-painter,  and  practicing  very  successfully  as  such  for  some 
time  in  Glasgow.  He  became  a  resident  of  Edinburgh,  ranking 
high  there  as  a  landscape-artist.  He  was  elected  an  Associate  oi 
the  Royal  Scottish  Academy  in  1856,  and  an  Academician  in  1875. 
Among  his  works  are,  "  The  Baggage- Wagon,"  "  St.  Monans,"  "  St. 
Andrew  in  a  Storm,"  "  The  Tower  of  London,"  "  The  Mill-Wheel," 
"Sunset  on  the  Sea,"  "Ben  Nevis,"  "  Sidon,"  "Crossing  the  Sands," 
"  A  Windy  Day,"  "  Haymaking,"  "  UUs  Water,"  "  On  the  Avon, 
near  Bristol,"  etc.  To  the  Paris  Exposition  of  1878  he  contributed 
(in  water-colors)  "Winton  Castle"  and  "  Arran  Hill  from  Kelly 
Park."    [Died,  1878.] 

"With  a  bold,  free  touch,  Bough  deals  with  the  surf-beaten  rocks,  the  stormy  bays, 
and  the  broad  Clyde  of  the  north.  He  has  somewhat  of  the  same  antecedents  as  those 
of  Stanheld  and  Roberts.  It  remains  to  be  seen  whether  these  will,  by  patient  self- 
training  and  labor,  lead  to  as  desirable  an  end."  —  Mrs.  Tytler's  Modern  Painters. 

"In  respect  to  Samuel  Bough,  we  need  only  repeat  our  former  impression,  that  there 
is  a  breadth  of  hand  and  a  daring  dash  away  from  the  weary  conventionalities  that  lend 
novelty  and  refreshment  to  everything  he  touches.  '  St.  Monans '  is  a  noble  effort, 
less  a  picture  than  a  positive  theft  of  a  portion  of  land  and  water,  filched  as  by  a  master- 
stroke from  earth  and  set  as  in  a  magic  mirror  before  us."  —  Art  Journal,  March,  1874. 

Boughton,GeorgeH.,A.R.A.  {Brit- Am.)  Born  in  England,  1834. 


78       ARTISTS  OF  THE  NINETEENTH  CENTURY. 

Taken  to  Albany,  N.  Y.,  in  1837,  by  his  parents,  where,  without 
masters,  he  began  the  study  of  his  art,  opening  his  first  studio  in 
1850.  He  sold  one  of  his  earliest  works  to  the  American  Art  Union 
in  1853,  and  on  the  proceeds  went  to  London  for  the  purpose  of  ob- 
servation and  improvement.  He  returned  to  America  in  a  few 
months,  settling  in  Albany,  and  subsequently  in  New  York,  where 
he  remained  two  years.  First  exhibited  at  the  National  Academy, 
in  1858,  "  Winter  Twilight."  Went  to  Paris  in  1859,  studying  and 
copying,  until  he  removed  in  1861  to  London,  where  he  has  since 
resided.  In  1863  he  sent  to  the  British  Institute  "  Passing  into  the 
Shade,"  which  was  highly  praised,  and  to  the  Royal  Academy  the 
same  year,  "  Through  the  Fields  "  and  "  Hop-Pickers  Returning,  — 
Twilight."  He  exhibited  at  the  Royal  Academy  in  1864,  "  The  In- 
terminable Story"  and  "Industry";  1865,  "  A  Breton  Haymaker" 
and  "Wandering  Thoughts";  1866,  "  The  Swing,  Brittany"  and 
"  Wayside  Devotion,  Brittany  "  ;  1867,  "  The  Early  Puritans  of  New 
England"  ;  1868,  "Breton  Pastoral";  1869,  "The  March  of  Miles 
Standish";  1870,  "The  Age  of  Gallantry";  1871,  "Colder  than 
Snow"  and  "  A  Chapter  from  Pamela";  1872,  "Springtime,"  "The 
Flight  of  Birds,"  and  "  The  Coming  of  Winter  " ;  1873,  "  The  Heir  » ; 
1874,  "The  Canterbury  Pilgrims"  ;  1875,  "Gray  Days"  and  "The 
Bearers  of  the  Burden"  ;  1876,  "A  Surrey  Pastoral "  ;  1877,  "Home- 
ward" and  "  Snow  in  Spring"  ;  1878,  "The  Waning  of  the  Honey- 
moon" and  "  Green  Leaves  among  the  Sere." 

He  has  frequently  exhibited  at  the  National  Academy  in  New 
York,  and  was  made  Academician  in  1871,  and  in  1879  an  Associate 
Academician  of  the  Royal  Academy  of  London.  At  the  Johnston  sale, 
New  York,  1876,  his  "  Outcasts "  (24  by  20)  brought  $  1,005  ;  his 
"  Moonlight  Skating-Scene  "  (8  by  13),  $  660  ;  and  his  "  Christmas 
in  England,"  $1,025.  All  his  pictures  command  high  prices,  and 
many  of  them  are  to  be  found  in  the  finest  private  galleries  in  Eng- 
land and  America.  His  "  Winter  Twilight "  is  the  property  of  R.  L. 
Stuart  ;  his  "  Gypsy  Woman,"  of  M.  O.  Roberts.  Shepherd  Gandy 
owns  his  "  Coming  from  Church  "  ;  August  Belmont,  his  "  Lake  of 
the  Dismal  Swamp."  "  The  Old  Story"  is  the  property  of  the  Academy 
of  Design  ;  "Summer"  and  "Winter"  (water-color),  of  S.  V.  Wright. 
"The  Testy  Governor"  (1877),  never  elsewhere  exhibited,  is  in  the 
Corcoran  Gallery,  Washington  ;  his  "  Farewell "  and  "  A  Rainy 
Day,"  in  the  Walters  Collection,  Baltimore.  The  preceding  are  all 
in  this  country.  His  "  Normandy  Girl  in  a  Shower,"  "  By  the  Sea," 
the  property  of  W.  T.  Richards,  and  "  Looking  out  to  Sea  "(in  water- 
colors),  his  "  Pilgrim's  Sunday  Morning,"  belonging  to  Robert  L.  Stu- 
art, and  "  Going  to  seek  his  Fortune,"  to  George  Whitney  (in  oils), 
were  in  the  American  Fine  Art  Department  at  the  Centennial  Exhi- 
bition, Philadelphia,  1876.  To  the  British  Fine  Art  Department  of 
the  Paris  Exposition  of  1878  he  sent,  "Snow  in  Spring,"  "The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  79 


Bearers  of  the  Burden,"  and  "  A  Surrey  Pastoral."  To  the  Grosvenor 
Gallery,  London,  in  1877,  he  sent  "  A  Ruffling  Breeze "  ;  in  1878, 
"  March  Weather  "  and  "  The  Rivals." 

No  American  artist  is  more  popular  among  connoisseurs  in  Eng- 
land, where  his  works  meet  with  a  ready  sale.  His  scenes  of  the 
early  history  of  New  England  and  his  pictures  of  Breton  peasant  life 
of  the  present  day  have  been  frequently  photographed  and  engraved. 

"  No  one  of  our  artists  has  exhibited  such  genuine  pathos  and  pure  latent  sentiment 
upon  canvas  as  Boughton.  Some  of  his  smaller  pictures  are  gems  of  their  kind,  they 
tell  a  touching  story  so  naively,  as  their  names  indicate,  —  '  Coming  thro'  the  Rye ' 
'  Passing  into  the  Shade/etc."—  Tuckerman's  Book  of  the  Artists,  1867. 

"  In  landscape  Boughton's  preferences  have  seemed  lately,  at  any  rate,  to  be  for  a 
civilized  and  moderate  pastoral,  in  which  hedges,  swallows,  and  clumps  of  boskage 
score  or  checker  the  gentle  undulations  of  pasturage,  and  the  unconfused  translucent 
foliage  of  April  diapers,  with  separate  flakes  or  points  of  delicate  color.  ....  What 
Boughton  does  best  in  figure-painting  is  women  and  children,  his  types  being  never 
without  grace  of  figure  and  gesture,  and  having  often  for  sentiment  something  of  that 
reserved  gentleness  which  belongs  to  lives  that  have  to  be  passed  less  in  pleasure  than  in 
patience." —  Sidney  Colvin,  in  English  Artists  of  the  Present  Day. 

"  We  think  Mr.  Boughton  has  succeeded  beyond  expectation  in  the  task  undertaken, 
and  it  is  not  too  much  to  say  that  the  picture  [*  Pilgrims  setting  out  for  Canterbury,' 
R.  A.  1874]  has  in  it  less  of  the  common  artifice  of  composition,  and  more  of  direct  and 
genuine  impression,  than  any  other  of  this  year's  Academy.  In  looking  at  it  there 
comes  the  conviction  that  the  painter  has  truly  received  an  individual  thought  about 
the  loveliness  of  Chaucer's  verse,  and  that  the  subject  has  fascinated  him  of  its  own 
strength.  This  is  a  very  welcome  and  a  very  rare  quality,  in  an  age  when  pictures  are 
too  often  laboriously  manufactured  out  of  stock  material,  and  when  painters  approach 
their  task  in  a  mechanical  and  quite  perfunctory  way."  —  London  Art  Journal,  July, 
1874. 

"  '  God  Speed '  by  Mr.  Boughton,  though  in  many  respects  representative  of  the  excel- 
lent qualities  of  his  art,  is  not  thoroughly  satisfactory.  The  composition  is  scattered 
and  broken  into  episodes,  and  the  sentiment  a  little  strained.  Mr.  Boughton  is  better 
represented  in  the  exhibit  of  the  United  States.  His  '  New  England  Puritans  going  to 
Church '  and  his  '  Going  to  Seek  his  Fortune '  are  more  satisfactory  compositions.  The 
sources  from  which  this  artist  draws  his  best  inspirations  are  Chaucer  and  our  Puritan 
forefathers  ;  and  no  one  has  entered  more  thoroughly  into  the  spirit  of  the  times,  and 
the  customs  thus  respectively  derived,  and  with  a  more  genuine  sympathy,  than  Mr. 
Boughton."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

"  '  Homeward,'  by  Boughton,  is  a  charming  picture,  full  of  grace  and  expression,  and 
full  of  story.  '  The  Primrose-Gatherers '  is  one  of  those  minglings  of  landscape  and 
figure-painting  in  which  the  artist  so  conspicuously  excels.  The  picture  is  a  successful 
study  of  color,  and  perfect  in  composition  and  drawing  ;  a  party  of  young  girls  and 
children  surprised  in  a  coppice  by  a  sudden  snow-storm,  the  flakes  falling  upon  the  first 
green  leaves  of  spring."  —  London  Letter  to  New  York  Times,  May  18,  1877. 

Bouguereau,  William  Adolphe.  (Fr.)  Born  at  La  Rochelle, 
1825.  Member  of  the  Institute  and  Officer  of  the  Legion  of  Honor. 
When  very  young  he  was  sent  to  the  college  at  Pons,  and  even  then 
showed  his  aptness  for  drawing.  When  the  proper  time  arrived  he 
was  sent  to  Bordeaux  and  placed  in  a  business  house.  He  obtained 
permission  to  attend,  for  two  hours  a  day,  the  drawing-school  of  M. 
Alaux.  His  fellow-pupils,  almost  without  exception,  intended  to  be 
artists,  and  felt  a  contempt  for  Bouguereau  on  account  of  his  business 


80       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


occupations  ;  thus,  when  at  the  end  of  the  year  he  took  the  prize  for 
which  all  had  striven,  the  excitement  was  so  great  that  a  riot  occurred, 
and  the  pupils  made  a  formal  protest  against  his  receiving  it,  but 
without  effect.  He  then  announced  to  his  family  his  decision  to 
"become  a  painter.  He  had  no  money,  and  went  first  to  Saintouge, 
where  his  uncle  was  a  priest.  No  painter  had  ever  been  there,  and 
Bouguereau  was  soon  busy  in  making  portraits  of  the  dwellers  in  that 
region.  He  was  able  to  save  900  francs,  with  which  he  went  to  Paris, 
and  entered  the  studio  of  Picot,  and,  later,  l'Ecole  des  Beaux- Arts, 
where  his  progress  was  rapid.  He  gained  the  grand  prize  in  1850, 
and  went  to  Borne.  The  works  he  sent  from  there  were  worthy  of 
attention,  but  his  real  fame  dates  from  1854,  when  he  exhibited  "  The 
Body  of  St.  Cecilia  borne  to  the  Catacombs."  It  is  now  in  the  Lux- 
embourg, together  with  the  "  Philomela  and  Procne"  (1861)  and  the 
"  Mater  Amictorum  "  or  "  Vierge  Consolatrice  "  (1876).  For  this 
last  the  artist  received  12,000  francs  from  the  government,  and  re- 
fused double  that  sum  from  a  private  individual  ;  it  will  doubtless 
find  a  home  in  the  Louvre.  Just  when  Bouguereau  began  to  be  fa- 
mous M.  Bartolony  employed  him  to  decorate  his  drawing-room,  by 
which  work  he  proved  himself  a  good  decorative  painter  ;  soon  after 
he  received  a  more  important  commission  in  the  Hotel  Pereire  ;  later, 
he  executed  the  paintings  on  the  ceiling  of  the  concert-room  of  the 
Bordeaux  Theater,  and  other  decorative  works  in  the  churches  of  St. 
Clotbilde  and  St.  Augustin.  At  the  Salon  of  1877  he  exhibited  the 
"Vierge  Consolatrice"  and  "Youth  and  Love";  in  1876,  "  Pieta," 
belonging  to  Prince  Demidoff,  and  a  portrait  ;  in  1875,  "  The  Vir- 
gin, the  Infant  Jesus,  and  St.  John  the  Baptist,"  belonging  to  M.  Bou- 
cicaut,  "  Flora  and  Zephyrus,"  and  "A  Bather"  ;  in  1874,  "Charity," 
belonging  to  Mr.  Avery,  "  Homer  and  his  Guide,"  and  "  Italians  at  a 
Fountain"  ;  in  1873,  "Nymphs  and  Satyrs"  and  "The  Little  Marau- 
ders "  ;  in  1872,  "  Harvest-Time  "  and  "The  Mower"  ;  in  1870,  "The 
Bather "  and  "  The  Vow  at  St.  Anne,"  etc.  At  the  Johnston  sale, 
"  Blowing  Bubbles  "  (10  by  8)  sold  for  $  1,225,  and  "  On  the  Way  to 
the  Bath  "  (39  by  30),  for  $  6,000.  At  the  Latham  sale,  New  York, 
in  1878,  "  Best  during  the  Harvest,  Italy  "  (45  by  58)  sold  for  $  4,000. 
At  the  Salon  of  1878  Bouguereau  exhibited  a  portrait  of  a  lady. 

Mr.  H.  P.  Kidder  has  a  fine  picture  by  Bouguereau,  "  The  Girl 
with  a  Tambourine."  "  Maternal  Solicitude  "  is  in  the  gallery  of  Mr. 
T.  R.  Butler  of  New  York. 

"  To  be  inclined  to  paint  pretty  faces  is  surely  not  a  grave  defect,  and  yet  the  often 
excessive  severity  of  French  criticism  towards  M.  Bouguereau  bears  almost  in  every  case 
upon  the  prettiness  of  his  faces,  or  the  rather  conventional  cleanliness  of  his  execution. 
We  admit  that  a  little  more  frankness  in  the  touch  would  give  to  his  painting  a  reality 
which  sometimes  is  wanting.  Rusticity  is  not  with  this  painter  an  instinctive  senti- 
ment, and  if  he  paints  a  patched  petticoat  he  yet  suggests  an  exquisitely  clean  figure; 
the  naked  feet  he  gives  to  his  peasant-women  seem  to  be  made  rather  for  elegant  boots 
than  for  rude  sabots  ;  and,  in  a  word,  it  is  as  if  the  princesses  transformed  into  rustics 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  81 


by  the  magic  wand  in  the  fairy  tales  had  come  to  be  models  for  his  pictures  rather  than 
the  fat-cheeked  lasses  whose  skin  is  scorched  by  the  sun  and  whose  shoulders  are  accus- 
tomed to  heavy  burdens.  But,  having  made  this  reserve,  it  must  be  acknowledged  that 
M.  Bouguereau's  children  are  delightful,  and  his  composition  charming  ;  his  drawing  is 
correct,  even  to  rigidity ;  he  possesses  a  gracefulness  and  a  fecundity  of  invention  at- 
tested by  the  immense  number  of  his  pictures.  The  complete  list  of  them  is  far  too  long 
for  insertion,  nor  would  it  be  interesting  to  the  English  reader.  We  prefer  to  stop  here, 
and  to  sum  up  in  few  words  our  impression  of  the  painter's  characteristics,  — whether  he 
paints  mythological  subjects  or  rustic  scenes,  M.  Bouguereau  always  exhibits  three 
qualities  which  justify  his  reputation,  —  knowledge,  taste,  and  refinement. "  —  Renk 
Menard,  The  Portfolio,  March,  1875. 

"  Bouguereau  has  for  a  long  time  exhibited  pictures  of  finished  design,  skillful  execu- 
tion, very  labored,  and  smooth  to  excess,  '  d'un  faire  trop  mou,'  which  wanted  character 
and  accent,  and  in  which  style  was  replaced  by  a  certain  academic  prettiness.  He 
seems  decidedly  better  inspired  by  the  religious  sentiment  than  by  his  mythological 
souvenirs  or  his  idyllic  fantasies.  His  Virgin  which  was  seen  at  the  last  Salon  had  a 
more  noble  and  thoughtful  expression,  a  penetrating  serenity,  the  charm  of  which 

attracted  me,  and  I  praised  it,  almost  without  restriction  The  new  picture  of 

Bouguereau  ['  The  Pieta ']  is  in  a  sense  the  attendant  and  complement  of  the  preceding, 
—  the  first  showing  the  child  Jesus,  the  second  representing  the  dead  Christ.  In  the 
former  we  have  seen  the  Virgin,  young  and  happy,  although  plunged  in  a  strange 
meditation  in  which  was  mingled  a  painful  presentiment.  In  the  latter  the  times  are 
accomplished,  and  the  artist  had  to  translate  the  immense  grief  of  the  mother  before  the 
inanimate  body  of  her  son,  which  the  executioner  gives  to  her.  The  face  of  the  Virgin 
with  the  features  grown  meager,  with  the  eyes  burned  by  tears,  has  a  simple  and  touch- 
ing expression  ;  her  attitude  is  at  once  heart-broken  and  resigned.  The  body  of  the 
Christ  reposes  easily  upon  her  ;  the  design  of  it  is,  without  being  beautiful,  at  least 
elegant  and  correct ;  it  offers  principally  a  foreshortening  of  the  head  drawn  with  re- 
markable correctness.  This  principal  group  is  surrounded  and,  as  it  were,  framed  by 
the  faces  of  adoring  angels,  whose  symmetrical  disposition  recalls  the  arrangement  of 
ancient  pictures  in  missals.  In  spite  of  the  qualities  which  I  find  in  this  composition,  it 
is  very  far  from  being  as  charming  as  the  preceding.  The  color  of  it  is  more  obscure  and 
of  a  less  delicate  harmony  ;  the  evident  search  for  an  archaic  formula  chills  the  impres- 
sion of  this  dramatic  scene,  in  which  the  more  human  emotion  is  a  little  wanting,  which 
moves  one  when  regarding  the  other  Virgin  of  Bouguereau.  In  short,  I  recognize  in  this 
work,  science,  conscience,  and  elevation,  but  I  might  desire  a  more  individual  and  more 
independent  treatment ;  and  I  should  wish  to  find  a  little  more  of  the  force  and  reality 
which  superabounds  in  the  canvas  of  Bonnat,  the  'Struggle  of  Jacob.'  "  —  A.  Bonnin, 
VArt,  1876. 

Boulanger,  Louis.  (Fr.)  Born  of  French  parents  at  Verceil, 
(1806-1867).  Chevalier  of  the  Legion  of  Honor.  Director  of 
l'Ecole  des  Beaux- Arts  at  Dijon.  Pupil  of  Guillon-Lethiere  and 
Ach.  Deveria.  He  made  his  debut  at  the  Salon  of  1828  with  "  Ma- 
zeppa "  and  "  The  Departure."  Among  his  best  works  are,  "  The 
Triumph  of  Petrarch  "  (1836)  ;  "  St.  Jerome  and  the  Koman  Fugi- 
tives" (1855)  ;  "Romeo  buying  Poison"  and  "Lazarille  and  the 
Beggar"  (1857)  ;  "Don  Quixote  and  the  Goatherds,"  "  Othello,"  and 
"  Macbeth"  (1859);  "  The  Revery  of  Velleda  "  (1861);  "  The  Georgics 
of  Virgil  "  (1863)  ;  "  Holy  Family  "  purchased  by  the  Ministry  of  the 
.Beaux- Arts,  and  "  Fear  Nothing,  thou  bearest  Ceesar  and  his  For- 
tune "  (1865)  ;  and  "  Vive  la  joie  !  "  and  "  A  Picaresque  Concert " 
(1866).  Boulanger  has  made  many  portraits.  He  painted  a  water- 
4*  F 


82       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


color  of  the  last  scene  in  "  Lucrezia  Borgia  "  (1834),  which  was  pur- 
chased by  the  Duke  of  Orleans.  Boulanger  began  life  under  favor- 
able auspices.  He  was  a  pet  of  the  chiefs  of  the  Romantic  School, 
who  saw  in  him  promise  of  good  work,  which  he  fulfilled.  He  was 
an  intimate  friend  of  Victor  Hugo,  who  dedicated  poems  to  him  and 
made  journeys  with  him.  Boulanger,  in  return,  took  the  motives 
for  some  of  his  best  pictures  from  the  writings  of  M.  Hugo. 

Boulanger,  G-ustave-Rodolphe-Clarence.  (Ft.)  Born  at  Paris, 
1824.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Delaroche  and 
Jollivet.  This  artist  returned  from  Italy  in  1856,  and  has  exhibited 
pictures  at  nearly  every  salon  since  that  time  :  in  1877,  "  St.  Sebas- 
tian and  the  Emperor  Maximilian  Hercules"  ;  in  1876,  "A  Summer 
Bath  at  Pompeii  "  and  "  Roman  Comedians  reciting  their  Roles  "  ;  in 
1875,  "  The  Gynecia  "  ;  in  1874,  "  The  Appian  Way  in  the  Time  of 
Augustus "  and  the  paintings  in  the  foyer  de  la  danse  in  the  New 
Opera  at  Paris  ;  at  the  Salon  of  1878,  "A  Repast  at  the  House  of 
Lucullus,  —  Triclinium  of  Summer." 

"  Without  rivaling  the  wonderful  variety  of  Gerome,  M.  Boulanger  has  great  affinities 
with  him.  He  belongs  to  the  group  of  refined  artists  who,  after  1848,  created  the  neo- 
Greek  fashion,  in  which  familiar  scenes  replaced  the  great  tragic  subjects  of  the  academ- 
ical school  of  David.  His  experiences  in  Africa  have  given  another  direction  to  his 
talent,  but  here  again  he  may  be  classed  with  Gerome  in  the  series  of  traveled  painters 
whose  aim  is  to  reproduce  the  types  and  customs  of  a  race.  M.  Boulanger's  talent  is 
more  delicate  than  powerful,  and  not  without  its  weak  points  ;  but  this  artist,  like  all 
those  gifted  with  taste  and  imagination,  will  always  find  favor  with  the  public."- —  Rene 
Menard,  The  Portfolio,  December,  1875. 

Bource,  Henri.  (Belgian.)  Born  at  Antwerp,  1816.  Member  of 
the  Academy  of  Antwerp.  Knight  of  the  Order  of  Leopold.  Pupil 
of  Baron  Wappers.  Among  his  works  is  "  The  Return  of  the  Vint- 
agers "  (1851),  bought  by  the  Art  Union  of  Dublin.  At  The  Hague, 
in  1857,  "  Marie  Antoinette  leaving  the  Prison  of  the  Temple  "  took  a 
gold  medal,  and  was  bought  for  the  collection  of  the  Grand  Duchess 
Maria  of  Russia.  "  The  Rescue  of  a  French  Crew  by  Pilots  of  Ant- 
werp n  is  at  the  Museum  of  Mons.  At  Brussels,  in  1863,  "  A  Summer 
Evening  at  the  Seaside  "took  a  gold  medal,  and  is  now  in  the  Museum 
at  the  Hague.    "  Days  of  Sadness  "  is  in  the  Museum  of  Ghent  ;  etc. 

Bourgeois,  Leon-Pierre-Urbain.  (Ft.)  Born  at  Nevers.  Medal 
in  1877.  Pupil  of  Cornu,  H.  Flandrin,  and  Cabanel.  At  the  Salon 
of  1877  he  exhibited  "  Saint-Sebastian"  and  two  portraits  ;  in  1876, 
"  Christ  taken  down  from  the  Cross"  and  a  portrait  of  Mile.  D.  de  G. 

Boure,  Antoine -Felix.  (Belgian.)  At  Philadelphia  he  exhib- 
ited "  The  Lizard  "  and  three  separate  Lions  (one  recumbent,  —  all 
in  marble),  and  received  a  medal. 

Boutelle,  De  Witt  C,  A.  N.  A.  (Am.)  Born  in  Troy,  N.  Y.,  1820. 
As  an  artist,  he  was  self-educated.  He  came,  however,  at  an  early  age 
under  the  influence  of  Cole  and  Durand.  His  first  picture,  painted  in 
1839,  and  sold  for  five  dollars,  was  recently  repurchased  by  the  artist 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  83 


for  $  50,  and  is  still  in  his  possession.  The  greater  number  of  his  early 
works  were  bought  by  the  American  Art  Union  during  the  existence 
of  that  institution.  His  professional  life  has  been  spent  in  Troy  (in 
the  beginning  of  his  career),  New  York,  and  Philadelphia.  He  has 
resided  in  Bethlehem,  Pa.,  some  years.  He  was  elected  an  Associate 
of  the  National  Academy  in  1853,  and  full  member  of  the  Pennsyl- 
vania Academy  in  1862.  Among  his  more  important  works  may  be 
mentioned,  "  The  Trout  Brook  Shower,"  at  the  National  Academy 
in  1851,  purchased  by  the  Art  Union,  and  now  owned  in  the  West  ; 
"  Morning  in  the  Valley  of  the  Battenkill "  (engraved),  in  the  collec- 
tion of  Burges  Warren,  Philadelphia  ;  "  Niagara/'  owned  by  G.  W. 
Whittaker  of  Bethlehem  ;  "  Terrapin  Tower,  Niagara,"  owned  by  Dr. 
G.  B.  Sinderman  ;  and  a  view  of  "  Niagara"  (6  by  10  feet),  still  in  his 
studio.  Numbers  of  his  landscapes  are  owned  in  Boston,  Newport, 
Bethlehem,  and  New  York.    He  rarely  exhibits  in  public. 

Bouvier,  Arthur.  (Belgian.)  Born  at  Brussels.  Medal  at  Phila- 
delphia, where  he  exhibited  "  Scene  on  the  Coast  of  Flanders,  —  Sun- 
rise."   To  Paris,  1876,  he  sent  "  A  Breeze  on  the  Scheldt." 

Bovy,  Jean-Francois- Antoine.  (Fr.)  Born  at  Geneva  (1803- 
1867).  Chevalier  of  the  Legion  of  Honor.  This  engraver  received  a 
great  many  commissions,  for  medals  and  medallions,  from  the  govern- 
ment. Among  them  were  those  bearing  the  portraits  of  the  Empress, 
the  Prince  Imperial,  General  Dufour,  etc. 

Boxall,  Sir  William,  R.  A.  (Brit.)  Born,  1801.  Entered  the 
Royal  Academy  when  eighteen  years  of  age.  Turned  his  attention,  as 
a  young  man,  to  the  painting  of  allegorical  subjects,  but  has  devoted 
himself  of  late  years  to  portraiture.  Among  his  earlier  sitters  were 
Prince  Albert  (in  1859),  belonging  to  Trinity  House,  William  Words- 
worth, Allan  Cunningham,  W.  S.  Landor,  and  John  Gibson.  In  1851 
he  was  elected  an  Associate  of  the  Royal  Academy,  and  Academician 
in  1864.  He  was  knighted  in  1871.  He  is  an  occasional  exhibitor 
at  the  Royal  Academy.  His  "  Geraldine  "  (a  lady  at  her  toilet,  half- 
length  figure,  life  size),  painted  in  1850,  is  in  the  National  Gallery, 
London.    [Died,  1879.] 

"  By  his  thoughtful  grace  and  truthful  air  of  character,  Mr.  Boxall  rises  very  much 
above  the  average  level,  wanting  only  more  force  and  decision  in  color  and  expression 
to  take  the  place  which  he  seems  always  to  approach  without  quite  attaining."  —  Pal- 
grave's  Essays  on  Art. 

Boyce,  George  P.  (Brit.)  Born  in  London,  1826.  His  profes- 
sional life  has  been  spent  in  that  city,  and  in  the  rural  districts  of 
England.  As  an  artist  he  is  comparatively  self-taught.  He  was 
elected  an  Associate  of  the  Society  of  Painters  in  Water-Colors  in 
1864,  and  a  full  member  in  1878.  Among  his  works,  which  are 
chiefly  of  an  antiquarian  and  architectural  character,  are,  "  Edward 
the  Confessor's  Chapel,"  painted  in  1852,  and  exhibited  in  1878  ; 
"Whitby  Abbey"  (1866)  ;  "North  Side  of  St.  Mark's,  Venice "  (1866) ; 


84       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Where  stood  Bridewell  Hospital  and  Prison"  (1867) ;  "  Outskirts  of 
Smithfield "  (1869);  "Old  Buildings  at  Kingwear"  (1875);  "Bull 
Inn  Yard,  London"  (1872)  ;  "  Old  Shropshire  Farm-House"  (1872)  ; 
"Ancient  Fortified  House,  Shropshire"  (1876);  etc.  His  "Smith- 
field,"  "  Where  stood  Bridewell,"  and  "  An  Ancient  House  and  Church 
at  Ludlow  "  were  at  the  Paris  Exposition  of  1878. 

"  A  very  careful  drawing  of  George  P.  Boyce's,  entitled  '  Old  House  in  Ludlow  Church- 
yard,' invites  attention  by  its  peculiarities,  which  refer  immediately  to  the  Dutch  school. 
Both  the  locality  and  the  house  accord  extremely  well,  and  it  may  be  considered  that 
the  artist  has  been  sitting  at  the  feet  of  Peter  Neefs  or  some  similarly  renowned  Dutch- 
man.!' —  Art  Journal,  June,  1873. 

Boys,  Thomas  S.  (Brit.)  Born,  1803.  He  began  his  career  as 
an  engraver,  working  actively  at  that  branch  of  the  profession  until 
1825  or  '26,  when  he  studied  painting  in  Paris  under  Bonington, 
living  for  some  years  on  the  Continent.  He  first  exhibited  at  the 
Koyal  Academy  in  1822,  and  at  Paris  a  few  years  later.  He  turned 
his  attention  to  printing  in  colors,  and  is  said  to  have  been  the  "  father 
of  the  chromo-lithograph."  His  earliest  work  in  that  line,  a  series 
of  architectural  views  of  some  of  the  Continental  cities,  attracted  great 
attention  when  published,  about  1840.  In  his  later  years  he  devoted 
himself  to  etching,  drawing  on  wood  and  stone,  as  well  as  to  water- 
color  painting.  He  was  a  member  of  the  Institute  of  Painters  in 
Water-Colors,  and  of  several  foreign  societies. 

Brackett,  Edwin  E.  (Am.)  Born  in  Maine^  1819.  Began  his 
career  as  a  sculptor  in  1838.  He  has  executed  portrait  busts  of  Bryant, 
Longfellow,  Allston,  Sumner,  Choate,  President  Harrison,  Butler, 
John  Brown,  Garrison,  Wendell  Phillips,  and  others.  Among  the 
better  known  of  his  ideal  works  is  "  The  Shipwrecked  Mother,"  at 
Mount  Auburn. 

"Brackett's  bust  of  John  Brown  [owned  by  Mrs.  G.  Stearns  of  Medford],  exhibiting 
with  Olympian  breadth  of  sentiment  the  intense  moral  heroism  of  the  reformer,  is  an 
American  type  of  Jove  ;  one  of  those  rare  surprises  in  art,  irrespective  of  technical  finish 
or  perfection  in  modeling,  which  shows  in  what  high  degree  the  artist  was  impressed 
by  the  soul  of  his  sitter."  —  Jarves,  Art  Thoughts. 

Brackett,  Walter  M.  (Am.)  Born  in  Unity,  Me.,  1823.  He 
is  an  artist  entirely  self-taught.  He  began  his  professional  career  in 
1843,  giving  his  attention  to  portraiture  and  ideal  heads  ;  later,  de- 
voting himself  to  the  painting  of  game-fish,  in  which  branch  of  the 
art  he  has  been  very  successful.  Many  specimens  of  his  work  are 
owned  in  Boston,  where  the  greater  part  of  his  professional  life  has 
been  spent.  He  is  one  of  the  original  members  of  the  Boston  Art 
Club,  and  has  filled  the  office  of  president  several  years.  His  "  After 
the  Battle,"  one  of  his  largest  pictures,  is  in  the  collection  of  the  Earl 
of  Dufferin.  A  series  of  pictures  representing  the  capture  of  a  salmon 
with  a  fly,  four  in  number,  first,  "  The  Else,"  second,  "  The  Leap," 
third,  "  The  Last  Struggle,"  fourth,  "  Landed,"  belong  to  Sir  Eichard 
Potter  of  London.  They  were  exhibited  at  the  Crystal  Palace  and  in 
English  provincial  cities,  attracting  decided  attention. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  85 


"Walter  M.  Brackett  is  acknowledged  by  all  to  stand  without  an  American  peer  at 
the  head  of  his  special  department  of  painting.  One  artist  only,  Rolfe  of  England,  is 
ever  named  as  his  rival  as  a  painter  of  fish.  Neither  Continental  Europe  nor  America 
can  boast  of  any  other  artist  of  acknowledged  eminence  who  has  devoted  himself  ex- 
clusively to  this  specialty."  —  Boston  Advertiser,  May  23,  1868. 

"  These  four  pictures,  by  Mr.  Walter  M.  Brackett  of  Boston,  cannot  fail  to  become  at- 
tractive when  their  merits  are  known,  not  only  on  account  of  the  high  order  of  artistic 
skill  which  they  display,  but  also  from  the  interesting  nature  of  the  sport  which  they  are 

intended  to  illustrate  The  transparency  of  the  water  is  most  cleverly  managed, 

but  the  artist's  skill  is  seen  in  its  greatest  perfection  in  the  brilliant  sheen  of  the  fish, 
and  in  the  wonderful  painting  of  the  eye  of  the  salmon,  both  of  which  are  so  life-like 
that  the  visitor  can  scarcely  at  first  believe  he  is  looking  upon  a  canvas."  —  Liverpool 
Mercury,  April  26,  1873. 

"  At  the  Crystal  Palace  four  pictures  may  now  be  seen,  the  productions  of  a  distin- 
guished American  artist,  Walter  M.  Brackett  of  Boston.    As  works  of  art  they  have 

rare  excellence ;  the  peculiar  subjects  have  never  been  better  treated  All  the 

accessories  are  thoroughly  well  painted,— the  water,  the  rocks,  and  the  line,— but  the 
painting  of  the  fish  is  absolutely  perfect ;  his  form  is  well  developed  and  his  coat  glitters. 
It  would  seem  as  if  tinsel  had  been  used  to  produce  effect ;  but  it  is  pure  art,  based  on 
matured  knowledge  and  sound  judgment."  —  London  Art  Journal,  1873. 

Bracquemond,  Felix.  (Fr.)  Born  at  Paris,  1833.  Medal  at  the 
Salon  of  1866  for  painting  ;  medals  in  1868  and  '72  for  etching.  Pupil 
of  J.  Guichard.  The  fame  of  this  artist  was  established  by  his  etch- 
ings, of  which  he  has  made  more  than  six  hundred.  These  are  much 
esteemed  in  England  and  the  United  States,  as  well  as  in  France. 
His  "  Erasmus  "  (after  Holbein),  the  "  Tournoi "  (after  Rubens),  a  por- 
trait of  Auguste  Comte,  etc.,  are  well  known.  His  illustrations  of 
Rabelais  are  very  fine.  Bracquemond  has  also  painted  some  portraits, 
among  which  are  those  of  Aug.  Vacquerie  and  Mme.  Paul  Meurice. 

Of  late  years  M.  Bracquemond  has  devoted  himself  to  the  perfection 
of  what  is  known  as  "  Haviland  faience."  He  is  to-day  the  first  Ceramic 
artist  of  France.  In  connection  with  Mme.  Marie  Bracquemond  and 
M.  Chaplet  (of  whom  we  shall  say  more),  M.  Felix  Bracquemond 
has  made  a  new  era  in  Ceramic  art, —  a  new  ware  and  a  new  style 
of  decoration.  He  has  called  about  him  a  company  of  distinguished 
sculptors  and  painters,  and  the  results  prove  what  I'art  industriel  can 
be  made  under  the  supervision  of  a  true  artist  like  Bracquemond.  I 
have  the  authority  of  a  French  critic,  who  knows  as  much  of  these 
matters  as  any  one  living,  for  saying  of  M.  and  Mme.  Bracquemond  : 
"  You  cannot  praise  too  highly  these  two  artists,  who  are  as  agreeable 
and  as  clever  as  they  are  talented  and  esteemed." 

"Behold  an  artist  who  is  one  of  the physionomies  originates  of  contemporaneous  art. 
In  the  intellectual  world  of  painters  and  poets  Bracquemond  is  very  celebrated.  He 
stands,  by  good  right,  as  an  etcher  hors  ligne,  having  no  worthy  rival  except  Jules 
Jacquemart.  A  fine  artist's  proof  of  a  plate  by  Bracquemond  is  a  preciousjobject,  and 
sells  for  the  highest  price.  The  English  consider  them  as  choice  titbits,  and  rarely  al- 
low one  to  escape  them  when  sold  The  plates  of  Bracquemond  made  their  way 

slowly  in  the  world,  and  connoisseurs,  seeing  their  rare  qualities  in  design  and  their  un- 
usual power,  sought  them  out.  The  Minister  of  State,  on  the  strength  of  what  he  heard 
of  them,  ordered  of  the  artist  an  engraving  of  the  portrait  of  Erasmus,  by  Holbein. 
The  choice  was  judicious  ;  he  produced  a  masterpiece.    The  Erasmus  of  Bracquemond 


$6       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


is  one  of  the  most  famous  and  popular  of  his  engravings,  and  a  proof  of  the  first  state 
passes  for  an  unattainable  object,  without  price.  Some  time  after  the  Erasmus  the 
artist  made  also,  for  the  Calcographie  of  the  Louvre,  an  engraving  of  the  '  Tournoi '  of 
Rubens,  and  he  sent  these  two  plates  to  the  Salon  of  1861.  They  were  refused  by  the 
jury  !  Now,  to  say  that  Bracquemond  loves  juries  would  be  to  say  that  the  dog  is  the 
friend  of  the  cat !  His  beard  bristles  when  he  talks  of  them  !  But  there  he  is  wrong,  as 
I  have  told  him  ;  the  jury  is  an  admirable  institution,  which  it  would  be  necessary  to  in- 
vent if  it  did  not  already  exist,  because,  whether  it  accepts  or  refuses,  it  is  to  the  reputa- 
tion of  a  true  artist  as  is  a  caustic  on  a  wooden  leg  !  I  plead,  and  I  will  always  plead,  in 
favor  of  the  juries  on  account  of  their  triumphant  uselessness.  Who  the  devil,  to-day, 
cares  to  know  whether  a  masterpiece  has  been  or  has  not  been  admitted  to  the  Salon  ? 
Is  talent  of  an  administrative  nature,  and  does  it  proceed  by  advancement?  .... 
While  he  made  the  drawings  for  the  Erasmus  at  the  Louvre,  Bracquemond,  '  toujours 
le  nez  au  vent,'  was  attracted  by  the  enamels  of  Leonard  Limousin,  which  are  in  the 
Gallery  of  Apollo.  Curiosity  as  to  the  process  seized  him,  and  he  endeavored  to  make 
portraits  in  this  manner.  While  seeking  knowledge  in  one  place  and  another,  he  went 
one  day  to  the  house  of  Deck,  the  well-known  maker  of  artistic  faience,  whose  works  are 
carried  all  over  the  world.  The  beautiful  tones  obtained  by  the  inventor,  his  elegant 
models,  his  ardent  faith  in  his  enterprise,  all  inspired  in  Bracquemond  a  new  passion  for 
faience.  He  then  worked  in  his  leisure  hours  with  Deck,  because  he  was  forced  to  live 
by  his  etching,  and  at  this  time  he  acquired  a  pronounced  taste  for  the  decoration  of 
potteries.  In  this  art,  as  in  others,  the  artist  made  for  himself,  immediately,  a  place 
apart,  by  the  originality  of  his  manner.  In  1866  a  manufacturer  came  to  demand  of  him 
an  attempt  at  etching  which  could  be  used  for  the  decoration  of  faience.  The  process 
was  not  to  be  a  new  discovery,  since  there  are  plates  in  this  manner  dating  from  the  end 
of  the  last  century,  but  he  attempted  to  find  again  the  lost  secret.  Bracquemond  exe- 
cuted a  complete  table  service  and  exhibited  it  in  1867.  Its  success  was  considerable, 
and  this  service,  which  bears  his  name,  remains  celebrated  in  the  annals  of  industrial  art. 
....  In  1871  Bracquemond  entered  the  manufactory  at  Sevres  as  head  of  the  ateliers  of 
painting.  In  1872  the  chief  of  a  great  manufactory  of  porcelain,  M.  Haviland  of  Limoges, 
engaged  the  services  of  Bracquemond.  He  confided  to  him  the  direction  of  the  works  of 
art  of  the  branch  establishment  which  he  founded  at  Auteuil.  He  is  still  there.  He  has 
impressed  upon  the  productions  of  this  house  a  considerable  fame,  and  he  is  bringing  it 
forward  to  the  first  rank.  Some  eminent  painters,  some  sculptors,  already  famous,  such 
as  Noel,  Delaplanche,  Aube  (to  speak  only  of  those  whom  I  know),  group  themselves 
about  Bracquemond,  and  design  vases  of  all  forms  and  all  dimensions,  which  are  already 
the  ornaments  of  richly  furnished  modern  houses,  and  only  wait  to  become  pieces  de 
mush. ....  Bracquemond  has  not  deserted  etching.  In  his  leisure  hours  he  retakes  the 
point  and  engraves  one  of  those  colored  plates  which  founded  his  reputation.  But  he 
sells  them  no  more,  and  guards  them,  the  miser  !  for  himself  and  his  friends.  As  I  write 
these  lines,  he  is  about  to  complete  a  view  of  the  Bridge  of  the  Arts  beaten  by  a  storm 
of  rain,  which  is  a  chef-d'auvre.  Such  are  the  principal  traits  of  this  original  figure,  one 
of  the  most  curious,  without  doubt,  that  the  contemporaneous  naturalism  has  given  to 
the  art  of  the  nineteenth  century."  —  Emile  Bergerat,  Galerie  Contemporaine,  No.  117. 

Bracquemond,  Mme.  Marie.  Pupil  of  Ingres.  Paints  por- 
traits and  genre  subjects.  At  the  Salon  of  1875  she  exhibited  "The 
Reading"  ;  in  1874,  "Marguerite."  Much  of  the  time  of  this  gifted 
artist  is  given  to  the  decoration  of  the  Haviland  faience.  She  has 
the  faculty  of  employing  the  faience  colors  so  well,  that  under  her 
brush  they  assume  a  clearness  and  richness  not  attained  by  other 
artists.  She  has  also  great  talent  in  drawing.  Her  works  are  much 
sought,  and  are  very  rarely  seen  in  collections  for  sale,  as  they  are, 
almost  without  exception,  sold  before  they  are  fired.    The  progress 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  87 


made  of  late  in  this  especial  faience  is  one  that  cannot  be  told  in 
words,  —  it  must  be  seen  to  be  appreciated,  and  no  one  painter  has 
done  so  much  towards  this  advance  as  Madame  Bracquemond. 

Bradford,  William,  A.  N.  A.  (Am.)  Born  in  New  Bedford, 
Mass.  Brought  up  to  commercial  pursuits,  he  was  devoted  to  art  in 
his  leisure  moments,  but  did  not  adopt  it  as  a  profession  until  busi- 
ness embarrassment  came  upon  him  in  the  maturity  of  life.  He  began 
painting  ships  in  the  harbor  of  Lynn,  Mass.,  and  along  that  eastern 
coast  as  far  north  as  Nova  Scotia  and  Labrador,  studying  diligently, 
and  becoming  a  marine  painter  of  no  little  merit.  For  two  years  he 
occupied  the  same  studio  with  Van  Beest  at  Fairhaven,  gaining  much 
from  the  association.  With  Dr.  Hayes,  the  Arctic  explorer,  and 
others,  he  has  made  several  trips  to  the  ice  regions  of  the  North 
American  coast  for  the  purpose  of  sketching  and  study,  chartering 
his  own  vessel,  and  going  as  high  on  one  occasion  as  the  56th  degree. 
His  representations  of  this  comparatively  new  field  of  ice-floes  and 
icebergs  have  been  interesting  and  popular,  and  have  attracted  much 
attention  on  both  sides  of  the  Atlantic.  He  has  exhibited  publicly 
and  privately  in  London,  and  has  sold  his  pictures  at  high  prices 
there  to  the  Queen,  the  Marchioness  of  Lome,  the  Baroness  Burdett- 
Coutts,  and  others.  His  "Steamer  Panther  among  Icebergs  and 
Field  Ice  in  Melville  Bay,  under  the  Light  of  the  Midnight  Sun,"  ex- 
hibited at  the  Royal  Academy  in  1875,  "  by  command  of  Her  Majesty," 
to  whom  it  belongs,  was  the  subject  of  much  comment  in  art  circles. 
Among  his  works  may  be  mentioned,  "  Fishing-Boats  in  the  Bay  of 
Fundy,"  "  Shipwreck  off  Nantucket,"  "  Lighthouse  in  St.  John 
Harbor,"  "  Fishing-Boats  getting  under  Way,"  etc. 

"  Bradford  has  made  a  decided  advance  in  the  forms  and  motions  of  waves ;  he  has 
put  movement  into  the  ocean,  and  swept  its  surface  with  gales.  Some  of  his  colored 
and  India-ink  sketches  of  shore  scenery  are  fine  bits  of  realistic  study,  but  in  painting 
he  gets  hard  and  metallic,  and  keeps  repeating  himself. "  —  Jarves,  Art  Idea. 

"Mr.  Bradford's  are  the  only  works  which  profess  incontrovertible  truth  in  the  rep- 
resentation of  the  Northern  Regions  ;  and  when  we  consider  the  magnitude  of  the  expe- 
ditions which  have  been  fitted  out  for  the  purpose,  it  cannot  be  supposed  that  any 
similar  scheme  will  be  entered  into  for  like  purpose  The  result  is  a  glorious  dis- 
play of  ice  landscapes  from  the  far  North,  abounding  with  color  which  never  entered 
the  thought  of  painters  who  have  not  seen  the  places  Mr.  Bradford  has  visited ;  far 
away  from  land,,  yet  with  every  appearance  of  being  sections  of  coast  scenery."  —  Art 
Journal,  August,  1873. 

"  A  series  of  studies  from  the  coast  of  the  Bay  of  Fundy  are  remarkable  illustrations 
of  what  fidelity  to  detail  can  effect  when  a  truly  characteristic  object  is  skillfully  treated. 
Bradford  is  indefatigable  in  his  search  for  subjects,  and  has  explored  many  isolated 
and  beautiful  ranges  of  coast  never  before  painted  by  artist."  —  Tuckerman's  Book  of  the 
Artists. 

Bradley,  John  Henry.  (Brit)  Born  in  Worcestershire,  1832. 
He  was  a  pupil  of  David  Cox,  but  has  lived  for  many  years  in  Flor- 
ence, Italy.  He  exhibits  in  London  and  Paris,  and  has  been  partic- 
ularly successful  in  his  etchings,  which  are  highly  prized  by  critics 


88       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  connoisseurs.  Among  his  paintings  in  oil  are,  "  Mountain 
Gloom,"  at  the  Paris  Salon  of  1868  ;  "  View  of  Florence/'  in  1869  ; 
and  "  Old  Market  in  Florence,"  in  1877.  His  "  Sunset  at  Venice/7  in 
water-colors,  was  at  the  Royal  Academy,  London,  in  1878.  Among 
his  etchings  were,  "  The  Canal  la  Vena  Chioggia,"  at  the  Dudley 
Gallery,  in  1874  ;  "  Fondamenta  di  Ponte  Luigio,  Venice,"  "  Ponte 
Panada,  Venice,"  and  "  Warwickshire  Willows,"  at  the  Paris  Exposi- 
tion of  1878.  Many  of  his  etchings  are  now  in  the  Permanent  Fine 
Art  Exhibition  at  Philadelphia.  The  "  Market  Scene  in  Florence  " 
is  a  fine  picture,  and  of  great  interest,  as  it  will  soon  be  historical,  on 
account  of  the  removal  to  the  new  market. 

"J.  H.  Bradley's  '  Italian  Twilight '  [R.  A.,  1871]  is  admirable  for  its  color  and  aerial 
tones."  —  London  Athenceum,  June  10, 1871. 

"  Mr.  J.  H.  Bradley's '  Canal  at  Chioggia  » is  quite  one  of  the  best  etchings  here,  of  sin- 
gular neatness  of  effect,  combined  with  suggestion  of  color  ;  admirable  in  balance  of 
chiaroscuro  and  graceful  composition."  —  The  Times,  London,  June  23,  1874. 

Bradley,  Basil.  (Brit.)  Born  in  Hampstead,  London,  1842. 
With  the  exception  of  about  one  year's  study,  1859-60,  at  the  Man- 
chester School  of  Art,  he  has  received  no  instruction  in  his  profession. 
He  has  devoted  himself  chiefly  to  water-color  painting,  spending  some 
time  in  Surrey  and  Westmoreland.  Of  late  years  his  studio  has  been 
in  London.  He  is  a  member  of  the  Water-Color  Society  of  Liver- 
pool, and  was  elected  an  Associate  of  the  Society  of  Painters  in  Water- 
Colors,  London,  in  1869.  Among  his  more  important  works  are, 
"The  Challenge,"  "  Chillingham  Cattle"  (1871),  belonging  to  J.  H. 
Bradley  of  Manchester;  "Full  Cry,"  Chiddingfold  Hounds  (1871), 
belonging  to  H.  Roberts  of  Liverpool  ;  "A  Lift  on  the  Way"  (1871)  ; 
"Ten  Minutes  Late  for  the  Meet"  (1874);  "Feline  Affection,"  a  study 
of  lions  (1876)  ;  "  Tigers  at  Play  "  ;  etc.  In  oil  he  sent  to  the  Royal 
Academy,  in  1873,  "  Victor  and  Vanquished,"  "  Chillingham  Cattle," 
"  Sheep- Washing,  Westmoreland  "  (1877)  ;  and  "  July  on  the  Thames  " 
(1878).  To  the  Paris  Exhibition  (1878)  he  sent  "  Too  Late  for  the 
Meet "  and  "  Mary's  Present  to  Robin,"  both  in  water-colors. 

"Many  of  the  animal  drawings  produced  by  Basil  Bradley  have  proved  very  attrac- 
tive, but  they  have  been  more  naturally  colored  than  *  Another  Day's  Work  Nearly  O'er,* 
which  at  first  sight  looks  like  a  careful  performance  in  sepia  or  some  similar  tint.  It 
represents  a  laborer  watering  his  team  at  a  shallow  rivulet.  The  horses  are  made  out 
with  perfect  knowledge  of  the  animal ;  and  there  is  in  the  action  a  truth  attained  only 
by  the  cSosest  observation." —  Art  Journal,  June,  1S73. 

"  The  intensity  of  the  animal  expression  thrown  into  the  individual  portraits,  and  the 
mirthfulness  of  character  shown  in  the  drawings  ['Young  Tigers  at  Play,"  Feline  Affec- 
tion,' etc.],  are  simply  and  truthfully  done,  equal  to  the  finest  display  of  these  qualities 
in  the  best  of  Landseer's  drawings. "  —  Art  Journal,  February,  1877. 

Braekeleer,  Ferdinand  de.  (Belgian.)  Born  at  Antwerp,  1792. 
Member  of  the  Academy  of  Antwerp,  and  Associate  Director  of  the 
Museum  of  the  same  city.  His  earlier  subjects  were  historical,  and 
some  of  his  pictures  quite  large.    In  1817  he  painted  "Tobit  bury- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  89 


ing  a  Jew  by  Night "  ;  in  1819,  "  Faustulus  presenting  Romulus  and 
Remus  to  his  Wife  "  ;  in  1822,  "  The  Grotto  of  Neptune  at  Tivoli." 
After  this  time  his  works  illustrated  the  history  of  his  country  ; 
among  them  are,  "  The  Baker,"  "  Rubens  painting  the  Chapeau  de 
Paille,"  "  Bombardment  of  Antwerp  in  1830."  "  The  Defence  of 
Antwerp,  in  1576,  against  the  Spaniards"  is  in  the  museum  of  that 
city.  His  pictures  of  this  class  are  numerous,  but  about  1836  he 
turned  his  attention  to  genre  subjects,  and  by  them  has  gained  a  high 
reputation.  Among  these  works  are,  "  The  Round  of  the  Market "  ; 
"  The  Bride's  Departure "  ;  "  Le  Comte  de  Mi-careme,"  in  the 
Museum  at  Brussels  ;  "  The  Golden  Wedding "  ;  etc.  His  design  is 
skillful,  drawing  correct,  invention  humorous,  execution  careful,  and 
color  delicate  and  harmonious.  At  the  Wolfe  sale,  New  York,  1863, 
"  The  Grandfather's  Holiday  Visit "  sold  for  $  1,625.    [Died,  1883.] 

At  the  Corcoran  Gallery  in  Washington  are  two  works  by  this 
artist,  the  "  Happy  Family  "  and  the  "  Unhappy  Family." 

Brandard,  Robert.  {Brit)  (1805-1862.)  Was  for  a  short 
time  in  the  studio  of  the  elder  Goodale,  devoting  himself  particularly 
to  landscape  engraving,  and  exhibiting  occasionally,  in.  London  and 
elsewhere,  oil-paintings  of  considerable  merit,  some  of  which  were 
engraved  by  himself.  He  furnished  numerous  plates  for  the  London 
Art  Journal,  for  Turner's  "  England,"  etc. 

Brandon,  E.  We  know  nothing  of  this  artist  but  that  he  is  a  Bel- 
gian ;  and  a  picture  by  his  hand  in  the  Walters  Gallery,  Baltimore, 
proves  him  worthy  of  attention.  It  represents  the  "  Interior  of  a 
Jewish  Synagogue  at  Amsterdam,"  which,  when  the  apparently  small 
material  employed  and  the  remarkable  effect  produced  are  considered, 
proves  him  an  artist  of  no  small  attainments.  It  is  a  picture  which 
makes  itself  felt  even  in  the  fine  collection  where  it  is  placed. 

Brandt,  Josef.  {Pole.)  Born  at  Szezebrzeszyn,  1841.  Gold  medal 
at  Munich,  1859  ;  at  Vienna,  1873  ;  at  Berlin,  1876.  Studied  at 
l'l^cole  Centrale  in  Paris,  and  under  Franz  Adam  at  Munich. 
Paints  historical  and  genre  subjects.  ,His  representation  of  the 
seventeenth  century  is  masterly.  His  "Scene  in  a  Polish  Village" 
is  at  the  National  Gallery  of  Berlin.  At  Vienna,  in  1871,  he  exhib- 
ited "  The  Polish  Fair "  and  "  A  Scene  in  the  Danish  Campaign, 
1658 "  ;  and  at  Berlin,  in  1876,  "  A  Vidette  in  the  Thirty  Years' 
War,"  and  "  Ukanien  Cossacks,  Seventeenth  Century,"  bought  by 
the  Museum  at  Konigsberg. 

Brandt,  Carl  L.,  N.  A.  (Am.)  He  has  resided  for  some  years  at 
Hastings-on-Hudson.  Was  elected  a  full  member  of  the  National 
Academy  in  1872.  Among  his  works  exhibited  of  late  years  are, 
<CA  Dish  of  Alpine  Strawberries,"  and  "The  Fortune-Teller,"  in  1869  ; 
"  The  Return  from  the  Alps,"  in  1874  ;  and  several  portraits. 

[No  response  to  circular.] 

Branwhite,  Charles.  (Brit.)  (1817-1880.)  Son  of  a  miniature- 


90       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


painter,  from  whom  he  received  his  first  instructions  in  art.  Began 
his  career  as  a  sculptor  and  received  the  silver  medals  of  the  Society 
of  Arts  in  1837  and  '38  for  figures  in  bas-relief.  He  began  painting 
a  few  years  later,  exhibiting  in  provincial  galleries  of  England  with 
considerable  success.  He  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colors  about  1850,  and  still  contributes  regularly 
to  its  gallery.  Among  his  later  works  are,  "  Post  Haste,"  "  A  Moun- 
tain Stream,  North  Wales,"  "  April  Showers  on  the  Eastern  Coast," 
"  Kilgarren  Castle,"  "  An  Old  Lime-Kiln— Winter  Sunset,"  "  Winter 
Twilight,  —  a  Black  Frost,"  "  The  Old  Salmon-Trap  on  the  Conway," 
"Snow-Storm,  North  Wales,"  "  Moonlight, —  Salmon  Poaching,"  etc. 

Brascassat,  Jacques  Raymond.  (Fr.)  Born  at  Bordeaux  (1805 
-1867).  Member  of  the  Institute,  and  Chevalier  of  the  Legion  of 
Honor.  Pupil  of  Richard  and  Hersent.  This  painter  has  been  called 
the  "  poet  of  animals."  Several  of  his  ftbest  pictures,  among  them  the 
"  Fighting  Bulls,"  are  at  the  Museum  of  Nantes.  His  works  are  very 
numerous.  At  the  Demidoff  sale,  1863,  Lord  Hertford  paid  10,100 
francs  for  a  water-color  of  "  Dogs  attacking  a  Wolf."  At  the  sale  of 
Khalil-Bey,  an  ordinary  little  picture  hy  Brascassat  of  "  A  Spaniel 
carrying  a  Pheasant "  brought  4,100  francs  !  At  a  Paris  sale  in  1871, 
"  A  Bull  defending  himself  from  the  Attack  of  a  Dog  "  sold  for  £  404  ; 
at  a  London  sale  in  1872,  "The  Bull  at  Liberty  "  brought  960  guineas; 
at  the  Strousberg  sale,  Paris,  1874,  "A  Bull  attacking  a  Dog"  sold 
for  £  780  ;  and  at  the  Latham  sale,  New  York,  1878,  "  Dogs  attacking 
a  Wolf"  (35  by  46)  sold  for  $  1,525. 

"  No  one  not  a  Dutchman  paints  so  broadly,  nor  with  a  more  sure  and  firm  touch,  the 
speckled,  rough  skins  of  hulls  and  cows.  ....  No  one  has  modeled  with  more  energy 
and  boldness  their  necks  and  shoulders,  their  hanging  dewlaps,  their  bespattered  rumps, 
and  those  horned  heads  in  which  the  fronts  are  all  bristling,  frowning,  and  furious,  and 
those  fine  feet,  like  the  feet  of  goats,  which  bear  bodies  of  monstrous  size,  nor  those 

eyes,  sometimes  sweet  and  dreamy,  and  sometimes  cruel  and  frightful  The  study 

of  sheep  is  the  graceful  side  of  his  talent."  —  De  Saint-Santin,  Gazette  des  Beaux- Arts, 
June,  1868. 

Brendel,  Heinrich  Albert.  (Ger.)  Born  at  Berlin,  1827. 
Member  of  the  Berlin  Academy.  Professor  at  Weimar.  Medals  at 
Paris  Salons,  at  Berlin,  Nantes,  Munich,  and  Vienna.  Studied  at  the 
Berlin  Academy  and  under  Wilhelm  Krause,  afterwards  at  Paris  un- 
der Couture  and  Palizzi.  He  traveled  in  Italy.  He  is  an  animal- 
painter,  and  has  lived  much  in  Paris  and  at  Barbison  with  the  colony 
of  French  artists  there.  In  the  Berlin  Gallery  is  his  "  Keturn  to  the 
Village."  At  the  Exposition  of  the  Royal  Academy  at  Berlin,  in 
1876,  he  exhibited  "  Up  the  Stream,"  "  The  Duplicate,"  and  "  Auf 
dem  Gutshof."  His  "  Sheepfold  at  Barbison"  (1863)  is  at  the  Luxem- 
bourg. 

"  Brendel  is  not  precisely  a  landscape-painter,  although  he  shows  us,  from  time  to 
time,  through  some  farm  porch  a  bit  of  perfect  scenery.  He  is  elassed  among  animal- 
painters,  and  has  chosen  sheep  for  his  specialty  Established  in  the  sheepfold,  he 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  91 


is  strong  ;  a  master  there,  no  rival  will  come  to  dislodge  him.  He  is  as  sure  with  the 
woolly  animals  as  Barye  with  lions,  or  Protais  with  foot-soldiers.  He  knows  their  habits, 
their  movements,  their  behavior,  and  even  their  thoughts,  if  they  have  any.  He  finds 
their  bony  framing  under  the  wool  which  conceals  it  from  the  ordinary  sight,  and  cleanly 
draws  that  which  Nature  scarcely  indicates.    His  thick,  firm  painting'suggests  the  idea 

that  he  mixes  his  oil  with  mutton-tallow  All  is  so  true,  so  just,  treated  with 

such  ease  and  such  assurance  of  talent,  that  I  dare  to  counsel  Brendel  to  be  more  am- 
bitious. Let  him  enlarge  his  frame  ;  let  him  not  fear  to  undertake  larger  subjects.  He 
has  a  beautiful  succession  to  strive  for,  since  the  poor  Troyon  works  no  more."  — Ed- 
mond  About,  Salon  de  1864. 

Breton,  Jules  Adolphe.  (Fr.)  Born  at  Courrieres,  1827.  Officer 
of  the  Legion  of  Honor.  Pupil  of  Drolling  and  of  Devigne.  The  land- 
scapes of  this  artist  are  too  well  known  to  require  description.  Ham- 
erton  says  of  his  "  Benediction  des  Bles  "  (1857),  at  the  Luxembourg : 
"  He  is  a  true  poet  and  true  painter,  with  an  infusion  of  delicate 
humor  which  reaches  our  sympathies  at  once.  The  '  Benediction  •  is 
technically  a  work  of  singular  importance  in  modern  art,  for  its  almost 
perfect  interpretation  of  sunshine."  Among  his  works  are,  "  The  Re- 
call of  the  Gleaners  "  (1859)  and  "Evening"  (1861)  at  the  Luxembourg; 
"The  Weed-Gatherers"  (1861);  "Women  digging  Potatoes"  (1868); 
"  The  Washerwomen  of  the  Coasts  of  Brittany  "  (1870)  ;  "A  Gleaner" 
(1877)  ;  etc.  At  the  Walters  Gallery,  Baltimore,  is  his  "End  of  the 
Day,  or  Rest  of  two  Peasant-Women  after  their  Toil,"  —  a  beautiful 
picture.  At  the  Forbes  sale,  London,  1874,  "When  the  Cat's  away, 
the  Mice  do  play"  sold  for  580  guineas.  At  the  Johnston  sale,  "A 
Brittany  Shepherdess"  (23  by  17)  brought  $2,000. 

"  Le  ehoix  de  ses  couleurs  est  toujours  heureux  ;  il  a  les  mains  pleines  de  lumiere,  et 
vous  diriez  qu'il  ddrobe  au  soleil  des  rayons  ehoisis."  —  M.  Edmond  About,  in  a  critique 
of  the  "Benediction,"  1857. 

"  He  is  at  once  a  painter  of  landscape  and  of  human  nature.  The  two  are  harmonized 
in  all  his  works  in  such  just  proportion,  and  with  such  equal  ability  and  care  brought  to 
the  representation  of  each,  that  he  occupies  the  rare  position  of  excelling  in  two  distinct 
branches  of  art ;  in  each  he  shows  a  deep,  earnest,  reverential  sympathy  in  the  presence 
of  nature ;  his  eye  for  color  is  almost  faultless,  and  his  technical  capacity  is  beyond 

question  It  is  noteworthy  that  popular  and  artistic  opinion  is  more  united  in 

favor  of  the  merits  of  Jules  Breton  than  upon  any  other  living  French  painter.  The 
Germans  pay  him  the  high  compliment  of  assigning  to  him  the  qualities  of  the  best  Ger- 
man artists.  In  hard  times  he  is  the  only  one  who  finds  the  price  of  his  paintings  con- 
stantly rising.  It  is,  perhaps,  not  too  much  to  assign  to  Jules  Breton  the  leading  place 
in  the  contemporary  French  school."  — S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

"  There  is  with  M.  Breton  a  profound  sentiment  for  rustic  beauty  which  separates 
him  from  some  vulgar  peasant-makers.  He  flatters  not  the  homely  in  nature.  This 
artiste,  truly  worthy  of  a  title  too  lavishly  used  in  this  day,  has  comprehended  the 
grave,  serious,  and  vigorous  poetry  of  the  country,  which  he  expresses  with  love,  respect, 
and  sincerity.  The  nutritive  labors  of  man  have  their  grandeur  and  their  sancity ;  for 
those  who  know  how  to  regard  them  they  are  solemnly  fulfilled  in  the  manner  of  relig- 
ious rites,  with  forms  and  attitudes  almost  hierarchal,  as  if  one  celebrated  the  fetes  of 

the  ancient  Cybele  The  picture  of  the  '  Weed-Gatherers '  produces  a  sweet  and 

mysterious  impression  which  one  would  not  expect  from  its  name.  The  sun  is  setting  ; 
already  his  red  disc  has  more  than  half  disappeared  behind  the  line  of  the  horizon,  at 
the  end  of  a  vast  plain  where  some  women  bending  over  tear  up  the.  worthless  roots- 


92       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


One  of  them,  fatigued,  without  doubt,has  risen  and  stands  in  the  second  plane,  detached 
in  silhouette  on  the  clear  sky  with  a  slightness  of  figure  and  a  rare  elegance.  The 
toil  ends  with  the  day,  and  the  beautiful  creature  holds  up  her  head  as  a  plant  to  the 
evening  freshness  !  Is  it  the  same  one  who  dreams,  leaning  on  her  elbow,  in  the  picture 
entitled  the  '  Evening,'  while  her  more  playful  companions  join  hands  and  form  a  circle? 
This  type  seems  to  preoccupy  the  painter,  and  it  reappears  through  his  works  like  the 
involuntary  repetition  of  some  village  Fornarina.  One  can,  moreover,  see  it  again  with 
pleasure.  It  recalls  with  more  strength  and  style  the  'Claudia'  of  George  Sand."  — 
Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 

Breton,  Emile  Adelard.  (Fr.)  Born  at  Courrieres.  Medals  at 
Paris  in  1866,  '67,  and  '68  ;  one  also  at  Philadelphia  in  1876.  Brother 
and  pupil  of  Jules  Breton,  and  "a  painter  of  landscapes.  "  A  Winter 
Evening  "  (1874)  is  in  the  Luxembourg.  At  the  Corcoran  Gallery,  in 
Washington,  are  his  "  Snow-Scene,  —  Moonrise,"  and  "  Sunset,"  both 
painted  in  1873.  At  the  Paris  Salon  of  1877  he  exhibited  "  A  Sum- 
mer Morning  "  ;  in  1876,  "  Winter  "  and  "  A  Marine  View  "  ;  in  1875, 
"  The  Canal  at  Courrieres,  —  Autumn,"  "  The  Village  of  Artois  in 
Winter,"  and  "The  Star  of  the  Shepherd,"  etc.  At  the  Salon  of 
1878  he  exhibited  "  A  January  Night,  —  After  a  Battle,"  and  a  land- 
scape. 

"  Pictures  like  those  of  Emile  Breton  charm  by  a  mixture  of  poetry  and  reality ;  his 
moonlight  effects  and  winter  scenes  assign  to  him  an  eminent  position  among  our  best 
painters.  When  the  invasion  came  he  separated  himself  from  his  family  to  defend  his 
country,  and  his  conduct  was  such  that  his  general  embraced  him  on  the  field  of  battle. 
After  the  war  he  returned  to  art,  and  in  the  last  exhibitions  his  pictures  had  so  much 
success  that  public  opinion  now  places  him  by  the  side  of  his  brother. "  —  Rene  Menard, 
The  Portfolio,  January,  1875. 

"The  landscape  which  he  comprehends  and  loves  is  not  the  free  and  varied  landscape, 
open  to  the  air,  to  the  light,  to  all  the  vivifying  breaths  of  nature.  Breton  willingly 
shuts  himself  in  a  narrow  and  somber  frame,  where  few  objects  can  find  a  place ;  he 
forces  himself  to  produce  a  tragic  effect  by  grand  simplicity  of  aspect.  His  horizon  is 
narrowed,  his  sky  low  and  veiled,  his  forests  black  and  thick ;  he  loves  to  cover  the 
earth  with  a  sad  cloak  of  white  hoar-frost  '  The  Twilight  under  the  Snow  '  repre- 
sents the  entrance  to  a  village  where  a  few  lights  are  seen  in  the  windows  of  the  cottages  : 
at  the  horizon  the  chilly  silhouette  of  a  snowy  steeple  shows  itself  against  a  yellow  light 
which  pierces  some  black  clouds.  This  picture,  with  a  large  and  strong  handling, 
breathes  that  sort  of  powerful  desolation  which  belongs  to  the  talent  of  Emile  Breton." 
—  Ernest  Duvergier  de  Hauranne,  Revue  des  Deux  Mondes,  June,  1874. 

Brevoort,  James  Renwick,  N.  A.  (Am.)  Born  in  West  Ches- 
ter County,  N.  Y.,  1832.  He  studied  architecture  in  New  York  for 
three  years  under  James  Renwick,  but,  turning  his  attention  to  paint- 
ing, he  became  a  pupil  of  Thomas  S.  Cummings.  In  1863  he  was 
elected  a  member  of  the  National  Academy,  and  was  made  Professor 
of  Perspective  in  1872,  a  position  he  held  for  two  years.  He  went 
to  Florence  in  1874,  where  he  has  since  resided.  Among  his  best 
works  in  America  are,  "  Lago  Maggiore,"  belonging  to  Mr.  Fitzgerald; 
ic  November  Winds,"  in  the  Longworth  Collection,  Cincinnati  ;  and 
"  Farmington  Meadows,"  painted  for  Jay  Cooke.  Since  his  residence 
in  Italy  he  has  made  several  sketching-tours  in  Germany,  Holland, 
Switzerland,  to  the  Italian  Lakes,  etc.,  and  the  result  has  been  among 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  93 


his  finished  pictures,  "  A  Scene  in  Holland,  near  Arnheim  "  ;  "  May 
Morning,  Lake  of  Como  "  ;  "  Lake  of  Como,  near  Yarenna  "  ;  "  Group 
of  Houses  and  Boats,  Lake  of  Como";  "  Castle  of  Heidelberg,— Sunset"; 
"A  Castle  in  the  Abruzzi,  Italy  "  ;  "  Views  on  Lake  Lugano  "  ;  "  Vesu- 
vius, from  Naples"  ;  "  On  the  Gulf  of  Salerno"  ;  "  A  Swiss  Scene"  ;  etc. 

"  Brevoort's  landscapes  are  broad  and  thoughtful,  characteristic  of  American  scenery 

•with  pleasing  atmospheric  effect  One  of  his  designs  to  illustrate  a  poem  exhibits 

rare  feeling,  and  his  large  '  Harvest  Scene  with  a  Storm  Coming  up  '  shows  advancing 
power  and  fine  management  of  light."  —  Tuckerman's  Book  of  the  Artists,  1867. 

Bricher,  Albert  T.,  A.  N.  A.  {Am.)  Born  in  Portsmouth,  N.  H., 
1837.  Educated  in  the  Academy  of  Newburyport,  Mass.  In  1851  he 
entered  a  mercantile  house  in  Boston,  painting  and  studying  art  with- 
out instruction  in  his  leisure  hours.  In  1858  he  began  the  practice  of  art 
as  a  profession,  sketching  along  the  coast  of  New  England,  and  working 
with  considerable  success  in  Boston  for  ten  years.  In  1868  he  settled 
in  New  York,  exhibiting  at  the  National  Academy  his  "  Mill  Stream 
at  Newburyport."  He  began  the  painting  of  water-color  pictures  a 
little  later,  and  was  elected  a  member  of  the  American  Society  of 
Painters  in  Water-Colors  in  1873.  Among  his  water-color  drawings 
may  be  mentioned,  "An  Indian  Summer's  Sunset"  (1869)  ;  "  Sunset 
in  October  on  the  Ellis  River,  N.  H."  (1869)  ;  "The  Maiden's  Rock, 
Lake  Pepin"  (1870);  "  Mt.  Adams"  (1871),  "Time  and  Tide," 
"  By  the  River-Bank,"  "  On  the  Winding  Esopus,"  "  Break,  Break, 
Break  !  "  (1874)  ;  "  Off  Halifax  Harbor,"  "  Spring  Morning"  (1875)  ; 
"  A  Lift  in  the  Fog,  Grand  Menan,"  "  Rest  in  the  Woods,"  "  Gath- 
ering Water-Lilies"  (1876)  ;  "  Off  the  North  Head,  Grand  Menan," 
"  Twilight  on  the  Moor,"  "  St.  Michael's  Mount,"  and  "  Sweet 
Summer  Time"  (1877)  ;  "Among  the  Hazards"  and  "What  the 
Tide  Left"  (1878).  His  "Foggy  Morning,  Grand  Menan,"  "  Sum- 
mer Morning,  Grand  Menan,"  and  "  Morning  at  Narragansett "  were 
at  the  Centennial  Exhibition  of  1876 ;  his  "In  a  Tide  Harbor,"  at  the 
Paris  Exposition  of  1878.    [Elected  A.  N.  A.  in  1879.] 

"  Bricher,  although  among  the  younger  men  belonging  to  the  American  school  of  paint- 
ing, has  already  assumed  a  leading  position  as  an  artist,  not  only  as  a  marine  painter  but 
also  in  the  delineation  of  landscapes  His  '  Mill  Stream  at  Newburyport'  is  remark- 
able for  its  beauty,  and  the  subdued  yet  brilliant  way  in  which  it  is  treated.  It  is  a 
midsummer  scene,  as  the  boating  party  on  the  left  and  the  rich  and  luxuriant  foliage  of 
the  overhanging  trees  evince,  and  the  broken  forms  of  the  clouds  and  the  shadows  upon 
the  water  lend  to  the  view  an  idyllic  charm."  —  Art  Journal,  November,  1875. 

Bridell,  Frederick  L.  (Brit.)  Born  in  Southampton  (1831-1863). 

He  began  his  career  at  an  early  age  in  his  native  town,  painting  por- 
traits there  for  a  few  years,  after  which  he  went  to  the  Continent  to 
study.  He  exhibited  at  the  Royal  Academy,  in  1860,  "  The  Coli- 
seum by  Moonlight,"  a  picture  which  attracted  much  attention.  In 
1861  he  sent  "Olive  Garden,  Lake  of  Como";  in  1862,  "Pastoral 
Scene,  Lake  of  Lecco,"  and  "Above  the  Hill,  Lake  of  Como."  Among 
his  works  are  "  The  Temple  of  Love,"  "  Sunset  on  the  Atlantic,"  etc, 
He  was  considered  a  young  man  of  much  promise 


94      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Bridgman,  Frederick  A.,  N.  A.  {Am.)  Born  in  Alabama,  1847. 
Taken  to  New  York  at  an  early  age  by  his  family,  he  began  his  pro- 
fessional work  as  an  engraver  with  the  American  .Bank  Note  Company, 
studying  in  his  leisure  hours  (during  the  four  years  of  his  connection 
with  that  company)  in  the  Art  Schools  of  Brooklyn.  In  1866  he 
went  to  Paris,  becoming  a  pupil  of  Gerome,  who  has  shown  much  in- 
terest in  him.  His  summers  were  spent  in  sketching  tours  in  Brit- 
tany. In  1870  he  settled  in  the  Pyrenees  on  the  borders  of  Spain, 
where  he  remained  two  years.  He  passed  the  winter  of  1872-73 
in  Algiers,  the  winter  of  1873  -  74  in  Egypt,  Nubia,  and  on  the  Nile. 
He  is  at  present  (1884)  a  resident  of  Paris.  Among  his  works  may 
be  mentioned,  "  Up  Early,"  "  Girls  in  the  Way,"  "  Apollo  bearing  off 
Cyrene,"  "  Interior  of  a  Harem  "  (Paris  Salon,  1875),  and  "  The  Fu- 
neral of  the  Mummy"  (Paris,  1877),  for  which  he  received  the  third- 
class  medal,  and  in  which  he  is  said  to  "  have  approached  the  highest 
qualities  of  his  master  Gerome  "  (Lucy  Hooper,  in  Appletons'  Art 
Journal,  September,  1877).  He  did  not  exhibit  at  the  National  Acad- 
emy, New  York,  until  1871,  when  he  sent  his  "Illusions  of  High 
Life"  ;  in  1874,  "  Bringing  in  the  Corn,"  belonging  to  A.  A.  Low  ; 
in  1875,  "  The  American  Circus  in  Paris,"  "  Tete-a-Tete  in  Cairo,"  and 
"  In  the  Pyrenees,"  being  made  an  Associate  of  the  National  Academy 
the  same  year  ;  in  1876  he  exhibited  "  A  Moorish  Interior "  and 
"  Chapel,  —  Noon,  Brittany."  His  "  Donkey  Boy  of  Cairo  "  was  sold  at 
the  Johnston  sale,  New  York,  1876,  for  $  630.  His  "  Market  Scene 
in  Nubia  "  is  in  the  collection  of  Thomas  G.  Appleton  of  Boston.  He 
was  commended  by  the  Judges  of  the  Centennial  Exhibition  of  1876 
for  artistic  excellence,  contributing,  "  Kybelian  Woman,"  "  Flower  of 
the  Harem,"  and  "  The  Nubian  Story-Teller."  To  the  Paris  Exposition 
he  sent,  in  1878,  "  The  Funeral  of  the  Mummy,"  belonging  to  James 
Gordon  Bennett,  receiving  the  decoration  of  the  Legion  of  Honor. 

"  Bridgeman's  '  Circus  '  was  painted  when  he  was  scarcely  more  than  a  student,  and 
when  exhibited  at  the  Salon,  the  masterly  character  of  the  composition  and  its  brilliancy 
of  coloring  excited  general  admiration  even  among  the  critics  of  Paris.  Many  of  his 
works  have  been  purchased  by  Goupil,  and  they  are  always  well  hung  in  the  Salon."  — 
Art  Journal,  February,  1876. 

"  '  Hurrah  !  Hurrah  ! '  by  Bridgeman.  The  bright  green  of  the  sea-weed,  the  brown 
of  the  old  anchor  on  which  a  tattered  fisher-boy  stands,  the  bright  surf  and  water  fad- 
ing up  through  the  cliffs  to  a  dark  cloudy  sky,  are  all  fresh  and  suggestive. "  —  New 
York  Times,  February  25,  1877. 

"  Mr.  Bridgeman  exhibited  three  pictures  of  remarkable  power,  —  '  Bringing  in  the 
Corn,'  'The  Nubian  Story-Teller,' and  'Flower  of  the  Harem,'  all  painted  with  great 
skill  and  truth."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition 
0/1876. 

"If  the  American  pictures  are  fewer  than  usual  this  year  [1877],  as  a  rule  they  are 
of  a  far  higher  average  of  merit.  Gerome  himself  might  have  signed  Mr.  Bridgeman's 
•Funeral  of  a  Mummy,'  —  such  was  the  verdict  of  the  severe  critic  of  the  Paris  Figaro, 
M.  Albert  Wolff. "  —  American  Register,  June,  1877. 

Bridges,  Fidelia,  A.  N.  A.    (Am.)    A  native  of  Salem,  Mass. 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  95 


Pupil  of  W.  T.  Richards  in  Philadelphia.  She  also  spent  a  year  in 
study  and  observation  in  Europe.  In  1869  she  sent  to  the  National 
Academy,  in  oil,  "  Winter  Sunshine  "  and  "  Wild-Flowers  in  Wheat "  ; 
in  1870,  "  Blackberry-Bushes  "  and  "  Views  on  the  Ausable  "  ;  in 
1873,  "  Thistles  and  Yellow-Birds  "  ;  in  1874,  when  she  was  elected  an 
Associate  of  the  National  Academy,  "Cornfield  "  and  "  Salt  Marshes" ; 
in  1875,  "Edge  of  a  Rye-Field  "  ;  in  1876,  "  An  Old  Grave  "  ;  in  1877, 
"  The  Robin's  Bath."  She  turned  her  attention  to  painting  in  water- 
color  in  1871,  and  has  been  very  successful  in  that  branch  of  art.  She 
was  elected  a  member  of  the  Water-Color  Society  in  1875.  In  1871 
she  exhibited  "  Daisies  and  Clover  "  and  "  Pickerel-Weed"  ;  in  1874, 
"Lily  Pond"  ;  in  1875,  "Mouth  of  a  River"  ;  in  1876,  "By  the 
Sea";  in  1877,  "Rye-Field";  in  1878,  "Morning-Glories"  and 
"  Kingbird  on  the  Lookout."  She  sent  to  Philadelphia,  in  1876,  in 
water-color,  "  Kingfisher  and  Catkins,"  belonging  to  William  B.  Ken- 
dall, "A  Flock  of  Snow-Birds,"  and  the  "Corner  of  a  Rye-Field." 
Many  of  her  pictures  are  in  the  possession  of  George  A.  Whitney  of 
Philadelphia,  and  of  Mrs.  Dean  Sage  of  Brooklyn.  Her  "  Daisies," 
in  oil,  belonged  to  Kensett,  the  artist. 

"  Among  the  foremost  of  these  young  women  is  Miss  Bridges.  Her  works,  which  are 
already  well  known  in  New  York,  are  like  little  lyric  poems,  and  she  dwells  with  loving 
touches  on  each  of  her  birds,  '  like  blossoms  atilt '  among  the  leaves.  In  this  humble 
vein  of  feeling  she  seems  to  be  a  true  artist. "  —  Art  Journal,  February,  1875. 

"Miss  Bridges'  'Edge  of  a  Rye-Field'  [1875],  with  a  foreground  of  wild  roses  and 
weeds,  is  a  close  study,  and  shows  that  she  is  as  happy  in  the  handling  of  oil-colors  as 
those  mixed  with  water."  —  Art  Journal,  May,  1875. 

Bridoux,  Frangois-Eugene-Augustin.  (Fr.)  Born  at  Abbe- 
ville, 1813.  This  engraver  took  the  prix  de  Rome  in  1834,  and  since 
his  return  from  Italy  in  1841,  has  received  two  medals  for  works 
sent  to  the  Salons.  His  principal  plates  are,  "  The  Virgin  with  the 
Candelabra,"  after  Raphael  ;  "  A  Holy  Family  "  and  "  The  Concep- 
tion," after  Murillo  ;  "  La  Ferronniere,"  after  Da  Vinci  ;  "  Portrait 
of  Louis- Philippe,"  after  Winterhalter ;  "  Laure,"  after  Simone 
Memmi  ;  "  Hagar  and  Ishmael,"  after  Eastlake  ;  and  the  "  Aldo- 
brandini  Virgin,"  after  Raphael. 

Brierly,  Oswald  W.  (Brit.)  An  English  artist,  resident  in  London. 
A  member  of  the  Society  of  Painters  in  Water-Colors,  and  for  some 
years  "  Marine  Painter  in  Ordinary  to  Her  Majesty."  He  sailed  with 
the  Duke  of  Edinburgh  in  1867-68  on  the  Galatea's  trip  round 
the  world,  painting  that  ship  off  the  Cape  of  Good  Hope.  Among 
his  works  are,  "  Blake  going  on  board  the  Resolution  off  Dover 
in  1652,"  "  Magellan  discovering  the  Straits  in  1520,"  "  South-Sea 
Whalers  boiling  Blubber,"  "  A  Man  Overboard  in  the  Baltic  Fleet," 
etc.  His  "  Blake  going  on  the  Resolution  "  was  at  the  Philadelphia 
Exhibition  of  1876 ;  "  Blake  waiting  to  attack  the  Royalist  Fleet,"  at 
Paris,  in  1878. 


96       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  works  of  Mr.  Brierly  have  long  placed  him  in  the  foremost  rank  of  our  water- 
tolor  painters,  in  the  representation  of  marine  subjects,  for  it  is  to  such  that  he  almost, 
if  not  entirely,  confines  himself."  —  Art  Journal,  March,  1875. 

Bright,  Henry.  (Brit.)  Landscape-painter.  (1814-  1873.)  Edu- 
cated as  a  physician,  but  soon  relinquished  a  profession  uncongenial  to 
him  for  the  study  of  art.  Settled  in  London  at  an  early  age,  became 
a  member  of  the  Institute  of  Painters  in  Water-Colors,  and  also  painted 
in  oil.  He  first  exhibited  at  the  Royal  Academy  in  1845.  His  "  En- 
trance to  an  Old  Prussian  Lawn,  —  Winter,"  painted  in  1844,  was 
purchased  by  the  Queen,  who  is  the  possessor  of  several  of  his  earlier 
works.  He  exhibited  but  rarely  at  the  Royal  Academy  in  the  later 
years  of  his  life,  — in  1869,  "The  Ray  after  the  Storm";  in  1871, 
"  Battle  of  the  Frogs  and  Mice." 

"  The  subjects  of  Mr.  Bright's  pictures  are  very  varied,  but  his  manner  of  treating  all 
shows  great  originality  and  a  high  degree  of  self-possession,  while  his  manipulation  is 
broad  and  masterly,  and  his  coloring  rich  and  deep.  With  us  his  most  attractive  sub- 
jects are  the  banks  of  a  stream  or  a  river.  ....  His  snow-scenes  also  are  most  skill- 
fully and  faithfully  represented. "  —  Art  Journal,  November,  1873. 

Brillouin,  Louis-Georges.  (Fr.)  Born  at  Saint-Jean-d'Angely. 
Medals  in  1865,  '69,  and  '74.  Pupil  of  Drolling  and  Cabat.  At  the 
Salon  of  1877  he  exhibited  "  Les  racoleurs "  and  "  A  Bouquet  for 
Chloe "  ;  in  1876,  "  The  Vocation  of  a  Younger  Son  "  and  "  The 
Antechamber";  in  1874,  "The  Wedding  of  Georges  Dandin"and 
"  Lindor."  At  the  Johnston  sale,  New  York,  1876,  "  The  Book- 
Worm  "  (14  by  18)  sold  for  $  570.  "  The  Smoker  "  is  in  the  collec- 
tion of  Mrs.  H.  E.  Maynard  of  Boston.  At  the  Salon  of  1878  he 
exhibited  "  The  Malady  of  Polichinelle  "  and  "  The  Portrait."  His 
"  Cavalier  "  is  in  the  gallery  of  Mr.  T.  R.  Butler  of  New  York. 

Brion,  Gustave.  (Fr.)  Born  at  Rothau  (1824  -  1877).  Cheva- 
lier of  the  Legion  of  Honor,  1863.  Medal  of  Honor,  1868.  Pupil  of 
Guerin  at  Strasbourg.  In  1850  he  went  to  Paris  to  copy  the  Dante 
of  Delacroix.  He  exhibited,  in  1852,  "  The  Road  for  tracking  Boats." 
The  Emperor  purchased  his  "Battery  of  Military  Machines"  (1863). 
"  The  Pilgrims  of  Saint-Odile,  Alsace  "  (1863)  and  "  The  End  of  the 
Deluge"  (1864)  are  in  the  Luxembourg.  At  the  Johnston  sale, 
"  Brittany  Peasants  "  (6  by  4)  sold  for  $  600,  and  "  Brittany  Peas- 
ants at  Prayer  "  (53  by  82),  for  $  7,150.  The  last  was  from  the  Wolfe 
sale,  1863.  In  1877  he  exhibited  at  the  Salon,  "  The  Awakening  "  (en- 
campment of  pilgrims  on  Mount  Saint-Odile),  and  sketches  of  "  Grin- 
goire  "  and  "  Esmeralda,"  made  for  an  edition  of  "  Notre-Dame-de- 
Paris  "  ;  in  1876,  "  The  First  Steps,"  and  sketches  of"  Lantenac"  and 
"  Radoub,"  for  an  edition  of  "  Quatre-vingt-treize  "  ;  in  1875,  "  The  Day 
of  the  Baptism"  ;  in  1874,  "  A  Wedding  in  Alsace  "  ;  in  1872,  "  The 
Dance  of  the  Cock,"  a  souvenir  of  the  customs  of  Alsace  ;  in  1870, 
"  A  Burial  at  Venice,  1868."  At  the  Blodgett  sale,  New  York,  1876, 
"The  Conscript "  sold  for  $  1,050.    At  the  Oppenheim  sale,  Paris, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  97 


1877,  "  The  Dance  of  the  Cock »  sold  for  8,000  francs.  His  "  Fu- 
neral Scene  in  Venice  "  is  in  the  collection  of  Mrs.  H.  E.  Maynard 
of  Boston. 

"  '  La  Noce  en  Alsace,'  '  Le  Repas  de  noce,'  and  the  '  Benedicite '  lead  us  to  the  favorite 
subjects  of  the  painter,  the  old  costumes  picturesquely  preserved  still  in  some  provinces 
faithful  to  local  color,  which  artists  hasten  to  fix  on  the  canvas  before  they  disappear. 
Brion  knows  how  to  render  with  a  charming  grace  these  particular  types,  these  bizarre 
costumes,  these  interiors  with  characteristic  details  ;  he  gives  sentiment  and  beauty  to 
these  rustic  physiognomies  which  are  not  there,  perhaps  ;  but  if  it  is  a  falsehood,  we 
pardon  him  very  willingly."  —  Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 

"Brion  leaves  nothing  to  chance  ;  he  composes  his  picture,  he  balances  his  groups, 
and  while  the  whole  effect  is  discreet  and  moderate,  he  makes  the  faces  and  figures  of  his 
personages  say  all  that  they  ought  to  say.  "Without  being  portraits  his  heads  have  per- 
sonality and  character.  Careful  to  attain  a  picturesque  effect  and  attentive  to  the  acces- 
sories, he  gives  to  his  figures  the  costumes,  the  furniture,  and  the  surroundings  which 

belong  to  them  Brion  is  one  of  our  good  workmen.    He  knows  the  use  of  brown 

tones,  he  combines  and  calculates  their  values.  His  painting  is  always  full,  solid,  and 
well  balanced.  Thanks  to  his  powers  of  observation,  Brion  is  in  the  path  of  modern 
art;  his  sincerity  stands  instead  of  ideality."  —  Paul  Mantz,  Gazette  des  Beaux- Arts 
July,  1869. 

Brisset,  Pierre-Nicolas.  (Fr.)  Born  at  Paris,  1810.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Picot,  whom  he  assisted  in  the 
frescos  at  the  church  of  Saint- Vincent-de-Paul.  Brisset  gained  the 
grand  prix  de  Rome  in  1840.  He  paints  historical  subjects,  and  por- 
traits. In  1877  he  exhibited  a  portrait  of  M.  B.  ;  in  1876,  the 
"  Two  Sisters  of  Charity  "  and  two  paintings  for  the  church  of  the 
Trinity,  in  Paris  ;  in  1873,  a  portrait  executed  for  the  Museum  of 
Narbonne  ;  in  1872,  a  portrait. 

Bristol,  Edmund.  (Brit)  (1787-1876.)  Animal-painter.  Fa- 
mous particularly  for  his  horses,  in  which  branch  of  the  art  it  was 
said  to  have  been  the  opinion  of  Sir  Edwin  Landseer  that  -  he  had  no 
equal.    He  has  not  exhibited  of  late  years  in  the  Royal  Academy. 

Bristol,  John  Bunyan,  N.  A.  (Am.)  Born  at  Hillsdale,  N.  Y., 
1826.  He  studied  from  nature  in  his  own  country,  spending  his 
professional  life  in  the  city  of  New  York.  In  1859  he  went  to 
Florida,  painting  tropical  pictures,  which  attracted  some  attention 
when  exhibited.  He  was  elected  an  Associate  of  the  National  Acad- 
emy in  1861,  and  Academician  in  1875,  exhibiting  regularly  in  its 
gallery.  He  was  made  a  member  of  the  Artists'  Fund  Society  in 
1861.  Among  his  earlier  works  are,  "  Haying- Time,  Berkshire, 
Mass.";  "Autumn  Afternoon,  Bolton,  Lake  George";  "Sunrise, 
Mt.  Mansfield  "  ;  "  Adirondacks,  from  Lake  Champlain."  His  "-On 
the  St.  John's  River,  Florida"  is  in  the  collection  of  Cyrus  Butler ; 
"Monument  Mountain,  Berkshire  County"  (N.  A.,  1875)  was  pur- 
chased by  E.  K.  Sutton  ;  "  Mt.  Equinox,  Vermont "  (N.  A.,  1875) 
belongs  to  Mr.  McCoy,  Baltimore,  Md.  ;  "  Evening  by  the  Housa- 
tonic,"  at  the  Artists'  Fund  sale,  in  1878,  was  bought  by  Brayton  Ives. 
A  large  landscape  is  owned  by  Clarkson  Potter. 


98       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


He  received  an  award  and  medal  for  his  single  picture  at  the  Cen- 
tennial Exhibition  of  1876,  and  he  sent  to  Paris,  in  1878,  "  Lake 
Champlain,  from  Ferrisburg." 

"  Mr.  Bristol  as  a  landscape-painter  is  well  known  all  over  the  United  States,  and  his 
pictures  are  in  all  of  the  leading  collections.  Although  at  the  beginning  of  his  career 
as  an  artist  he  painted  figures  and  portraits,  he  soon  abandoned  that  branch  of  art  and 
turned  his  attention  exclusively  to  landscapes.  His  country  home  is  among  the  Berk- 
shire Hills  in  Massachusetts,  and  the  beautiful  scenery  of  that  region  no  doubt  largely 
influenced  him  in  choosing  that  branch  of  art  in  which  he  has  since  become  so  eminent. 
His  best  pictures  were  studied  in  that  region,  although  his  pencil  has  at  times  assumed 
a  wide  range  in  its  choice  of  subjects.  ....  In  the  present  exhibition  [1875]  he  has  two 
pictures,  '  Ascutney  Mountain'  and  'In  the  Housatonic  Valley.'  The  latter  picture  is 
one  of  his  finest  efforts,  and  probably  led  to  the  flattering  vote  by  which  he  was  elected 
Academician."  —  Neio  York  Evening  Post,  April,  1875. 

"  Mr.  Bristol  has  lately  acquired  a  more  thorough  manner,  and  his  picture  of  'Lake 
Memphremagog '  has  decided  merit.  The  evanescence  of  lights  and  shadows  over  the 
summer  landscape  is  well  expressed."  —  Professor  Weir's  Official  Report  of  the  Centen- 
nial Exhibition  of  1878. 

Brodie,  William.  (Brit.)  Native  of  Aberdeen,  living  in  Edin- 
burgh for  many  years.  He  is  a  member  of  the  Royal  Scottish  Acad- 
emy, and  was  elected  its  secretary  in  1877.  By  profession  a  sculptor, 
he  has  turned  his  attention  particularly  to  portrait  busts.  Among 
his  sitters  have  been  the  Queen,  the  Baroness  Burdett-Coutts,  and 
others.  He  is  the  author  of  the  statue  of  Sir  James  Simpson,  in  the 
Princess  Gardens,  Edinburgh.  His  bust  of  the  Queen  is  in  Windsor 
Castle,  and  a  duplicate  in  the  Scottish  National  Academy.  [Died,  1881.] 

Brodwolf,  Ludwig  Gustav  Eduard.  (Ger.)  Born  at  Berlin, 
1839.  Studied  under  Professor  Moller.  In  1869  he  executed  a 
group,  "  Minerva  teaching  a  Smith  to  forge  Weapons,"  now  at  Span- 
dau  ;  in  1872,  a  relief  of  "  The  Sermon  on  the  Mount,"  over  the 
main  entrance  to  the  Zion's  Church  at  Berlin  ;  in  1874,  a  group  for 
the  Royal  Bridge  at  Berlin,  "  Care  for  the  Wounded."  At  the  Na- 
tional Gallery,  Berlin,  are  some  reliefs  by  him,  portraits  of  German 
artists.    At  Berlin,  in  1871,  he  exhibited  "  A  Praying  Christ." 

Bromeis,  August.  (Ger.)  Born  at  Wilhelmshohe,  1813.  Pro- 
fessor at  the  Academy  of  Cassel.  Medals  at  Berlin  and  Vienna. 
After  being  awhile  in  Munich,  he  went  to  Rome,  where  he  remained 
some  time,  after  which  he  went  to  Frankfort  and  Diisseldorf,  from 
which  last  city  he  was  called  to  Cassel.  His  pictures  are  landscapes, 
and  in  the  National  Gallery  at  Berlin  is  an  "  Italian  View."  [D.,  1881.] 

Bromley,  William.  (Brit.)  Grandson  of  William  Bromley,  As- 
sociate Engraver  of  the  Royal  Academy.  He  is  a  resident  of  London, 
began  his  professional  career  as  an  engraver,  and  has  been  for  some 
years  an  active  member  of  the  Society  of  British  Artists,  contributing 
to  its  exhibitions  landscapes  and  pictures  of  a  genre  character.  Among 
his  later  works  may  be  mentioned,  "  Down  the  Glen,"  "  The  Glean- 
ers," "  Will  He  Pass  this  Way  ? "  "  In  the  Spring  a  Young  Man's 
Fancy,  etc.,"  "  Teaching  Brother,"  and  "  Come  Along  !  " 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  99 


Bromley,  Valentine  W.  {Brit)  (1848-1877.)  He  belonged  to 
a  family  of  artists.  His  father,  William  Bromley,  is  a  member  of  the 
Society  of  British  Artists  ;  his  grandfather,  William  Bromley,  was  a 
mezzotint-engraver,  who  died  in  1839  ;  and  his  great-grandfather,  Wil- 
liam Bromley,  an  Associate  of  the  Royal  Academy  in  the  beginning  of 
the  present  century,  was  also  an  engraver  of  some  note.  Valentine 
Bromley,  studying  art  under  his  father,  was  elected  an  Associate  of 
the  Institute  of  Painters  in  Water-Colors  before  he  was  twenty  years 
of  age,  and  an  Associate  of  the  Society  of  British  Artists  a  few  years 
later.  He  devoted  some  time  to  the  illustration  of  books  and  period- 
icals, being  upon  the  staff  of  the  Illustrated  London  News. 

He  gained  a  gold  medal  for  his  "  Big  Chief's  Toilet,"  at  the  Crystal 
Palace  Exhibition  of  1877.  Among  his  works  in  water-colors  may 
be  noted,  "  The  White  Rose "  (engraved),  "  The  Nearest  Way  to 
Church,"  etc.  To  the  Royal  Academy,  in  1877,  the  year  of  his  death, 
he  sent,  in  oil,  "  The  Fairy  Ring." 

"  The  composition  of  '  Troilus  and  Cresida '  [by  Valentine  Bromley]  shows  much  of 
the  antique  feeling  in  art.  The  two  principal  figures  might  stand  as  a  group  of  Greek 
sculpture,  in  their  united  action,  while  that  of  Pandarus  is  perfectly  picturesque.  The 

treatment  of  the  whole  subject  shows  much  of  the  pre-Raphaelite  school  The 

picture,  however,  has  throughout  merits  of  no  common  order. "  —  Art  Journal,  Decem- 
ber, 1873. 

" '  The  Fairy  Ring  '  represents  some  country  children  erecting  a  make-believe  little 
house  within  a  fairy  ring  of  mushrooms,  which  they  have  discovered  under  a  great  tree. 
The  incident  has  much  vraisemblance  about  it,  and  was  indeed  painted  on  the  spot,  just 
as  the  artist  saw  it.''  —  London  May  fair,  May,  1877. 

Brooks,  Thomas.  {Brit.)  Born  in  Hull,  1818.  At  the  age  of 
twenty  he  went  to  London  to  enter  the  Royal  Academy,  and  studied 
later  in  Paris.  He  painted  portraits  in  his  native  city  for  five  years, 
sending  from  Hull,  in  1843,  his  first  picture  to  the  Royal  Academy. 
He  removed  to  London  in  1845,  exhibiting,  the  same  year,  "  The  Vil- 
lage Student";  in  1851,  "Happiness";  in  1856,  "Guy  Fawkes 
Day  "  ;  1857,  "  The  Courtship  of  Shakspere"  ;  1859,  "  Consolation  "  ; 
1866,  "Launching  the  Life-Boat";  1869,  "Thames  Lilies";  1871, 
"Story  of  the  Sea";  1874,  "Love's  Errand";  1878,  "Absorbed." 
To  the  British  Institution  he  sent,  "  A  Peasant  Home,"  "  Crossing  the 
Moor,"  "  The  Wife's  Prayer,"  etc.  More  than  forty  of  his  pictures  have 
been  engraved.  His  "  Shakspere  before  Sir  Thomas  Lucy,"  at  the 
London  International  Exhibition  of  1862,  attracted  much  attention. 

"  Mr.  Brooks,  like  many  other  good  artists,  may  not  have  won  Academic  honors,  but 
he  has  held  on  his  way  well,  and  has  produced  a  goodly  list  of  works,  the  merits  of 
which  have  not  been  overlooked  by  the  public."  —  Art  Journal,  August,  1872. 

Brown,  Henry  Kirke,  N.  A.  {Am.)  Born  in  Massachusetts, 
1814.  Studied  in  Boston  for  three  years  ;  spent  three  years  in  Cin- 
cinnati, Ohio,  where,  in  1837,  his  first  marble  bust  was  executed.  In 
1840  he  settled  in  Albany,  N.  Y.,  and  subsequently  spent  four  years 
in  Italy.    On  his  return  to  America  in  1846,  he  cast,  in  bronze,  his 


100     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"Indian  and  Panther,"  and  the  statue  of  Washington,  in  Union 
Square,  New  York,  the  first  bronze  statue  executed  in  this  country. 
It  was  unveiled  July  4,  1856.  He  was  elected  full  member  of  the 
National  Academy,  New  York,  in  1851. 

His  statue  of  DeWitt  Clinton,  in  bronze,  is  in  Greenwood  Ceme- 
tery ;  his  General  Greene,  in  the  Capitol  at  Washington  ;  and  his 
latest  work  is  an  equestrian  statue  of  General  Scott,  for  the  same  city. 

Among  his  ideal  works  are,  "  David,"  "  Ruth,"  "  Rebecca,"  and 
"  Adonis." 

Brown,  J.  Henry.  (Am.)  Born  at  Lancaster,  Pa.,  1818.  As  an 
artist  he  is  entirely  self-taught.  He  began  his  professional  career  in 
Philadelphia  in  1845,  and  has  since  resided  in  that  city,  painting 
miniature-portraits,  on  ivory  and  canvas,  of  many  persons  of  high 
social  and  professional  position  in  Philadelphia  and  throughout  the 
country.  In  his  particular  branch  of  art  he  has  been  very  successful, 
and  his  work  is  highly  praised  and  highly  prized.  Among  his  sitters 
have  been  Abraham  Lincoln,  James  Buchanan,  John  M.  Read,  Su- 
preme Judge  of  Pennsylvania,  Commodore  Stockton,  and  many  more. 
The  miniature  of  President  Lincoln  was  painted  for  Judge  Read,  and 
is  now  in  the  possession  of  Mrs.  Lincoln.  Of  the  two  portraits  of 
President  Buchanan  one  belongs  to  his  niece,  Miss  Harriet  Lane  (now 
Mrs.  Henry  E.  Johnston  of  Baltimore),  the  other  to  the  Rev.  E.  Y. 
Buchanan. 

Mr.  Brown  was  elected  a  member  of  the  Pennsylvania  Academy  of 
Fine  Arts  in  1862.  He  received  a  medal  and  diploma  for  ivory  minia- 
tures at  the  Centennial  Exhibition  of  1876. 

Brown,  Ford  Madox.  (Brit.)  Born  in  Calais,  France,  where 
his  parents  were  temporarily  living  in  1821.  Displayed  a  taste  for 
art  at  an  early  age,  and  in  1835  was  placed  in  the  Academy  of  Bruges. 
He  studied  also  in  Ghent  and  Antwerp,  remaining  in  the  latter  city 
two  years,  painting  there  "  The  Giaour's  Confession,"  exhibited  at  the 
Royal  Academy,  London,  in  1841.  He  spent  some  years  in  Paris, 
and  settled  in  London  in  1845  or  '46.  He  has  exhibited  but  rarely  at 
the  Royal  Academy.  Among  his  earlier  works  are,  "  Wickliff  reading 
his  Translation  of  the  Scriptures,"  painted  in  1848;  "King  Lear" 
and  "The  Young  Mother,"  in  1849  ;  "Chaucer  reading  at  the  Court 
of  Edward  III.,"  in  1851  ;  "  Christ  washing  Peter's  Feet  "  and  "  The 
Pretty  Baa- Lambs,"  in  1852  ;  "  Waiting  "  and  "  The  English  Fire- 
side," in  1853.  To  the  International  Exhibition  of  1862  he  sent 
his  "  English  Autumn  Afternoon  "  and  "  Last  of  England."  In 
1865  he  exhibited  a  collection  of  his  works  in  London,  including 
"  Cordelia  and  Lear,"  "  King  Rene's  Honeymoon,"  "  Death  of  Sir 
Tristram,"  "  Parasinas,"  "Sleep,"  "The  Infant's  Repast,"  "Oure 
Ladye  of  Good  Children,"  "  Faithless,"  and  several  landscapes. 

"  Of  all  these  works  in  whichever  class,  the  prevailing  note  may  be  stated  in  the  one 
word  Realism.    Mr.  Brown  is  one  of  the  most  accurate  and  unimaginative  of  pictorial 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  101 


realists,  whose  great  preoccupation  it  is  to  represent  a  scene,  if  he  has  seen  it,  as  it  was, 
if  he  has  imagined  it,  as  it  might  have  been."—  Sidney  Colvin,  in  English  Painters  of  the 
Present  Day. 

"There  is  scarcely  a  living  painter  of  our  own  country  whose  productions  have  been 
subjected  to  so  much  criticism  as  Madox  Brown's,  and  this  on  account  of  certain  assumed 
peculiarities.  Notwithstanding  all  said  and  written  adverse  to  the  style  of  art  he 
thought  fit  to  adopt  almost  from  the  outset  of  his  career,  he  has  pursued  his  course,  con- 
tent to  leave  the  issue  to  the  hands  of  that  part  of  the  community  who  will  take  the 
trouble  to  analyze  the  mind  and  spirit  of  a  picture,  instead  of  being  captivated  by  its 
external  graces,  which  constitute  with  the  general  multitude  the  only  sure  prospect  of 

popularity  The  picture  which  attracted,  as  an  individual  example,  the  greatest 

attention  from  the  mass  of  visitors  was  called  simply  '  Work,'  a  composition  so  full  of 
material  that  an  entire  page  might  be  devoted  to  description  and  comment  without  ex- 
hausting the  subject.  It  is  in  itself  a  '  Work '  showing  a  high  development  of  thought, 
combined  with  great  and  varied  execution. "  —  A rt  Journal,  April,  1873. 

Brown,  J.  G.,  N.  A:  (Brit.-Am.)  Born  in  the  North  of  England, 
1831.  He  studied  art  in  Newcastle-on-Tyne,  and  in  the  Royal  Scot- 
tish Academy,  Edinburgh,  where  he  received  a  medal  in  the  Antique 
class  of  1853.  He  also  received  a  medal  in  Boston,  and  the  first 
medal  in  San  Francisco  in  1877.  Mr.  Brown's  professional  life,  for 
the  most  part,  has  been  spent  in  New  York.  He  was  made  a  mem- 
ber of  the  National  Academy  in  1863  ;  was  an  original  member  of  the 
Water-Color  Society  in  1866,  and  has  been  for  some  years  its  vice- 
president.  He  holds  the  same  office  in  the  Artists'  Fund  Society. 
Among  Mr.  Brown's  earlier  works  are,  "  His  First  Cigar,"  belonging 
to  M.  0.  Roberts  ;  and  "  Trudging  in  the  Snow,"  belonging  to  R.  L. 
Stuart.  His  "  Curling  in  Central  Park,"  the  property  of  Robert  Gor- 
don (at  the  National  Academy  in  1863),  was  exhibited  in  Philadelphia 
in  1876,  as  was  his  "  Fresh- Water  Sailor,"  the  property  of  Col.  Rush 
Hawkins.  To  the  National  Academy  of  1873  he  sent  "  Pennies  in 
Prospect "  ;  in  1874,  "  Hiding  in  the  Old  Oak  "  ;  in  1875,  "  Yes  or 
No  ?  "  ;  in  1876,  "  Now  We  Are  Off  "  and  "  The  Country  Gallants  "  ; 
in  1877,  "  The  High  Note  »  ;  in  1878,  "  By  the  Sad  Sea  Waves  "  and 
"  Pull  for  the  Shore."  To  the  Water-Color  Exhibition  of  1871  he 
sent  "  The  Swing  "  ;  in  1874,  "  The  Rustic  Milliner"  ;  in  1876,  "  A 
Well-Fished  Preserve";  in  1877,  "Crossing  the  Brook."  To  Paris, 
in  1878,  he  sent,  in  oil,  "St.  Patrick's  Day"  and  "The  Passing 
Show." 

"  Mr.  Brown  contributed  his  '  Curling  Match,'  which  is  the  picture  that  exhibits  his 
merits  to  the  best  advantage.  Mr.  Brown's  subjects  are  derived  from  the  homely  inci- 
dents of  every-day  life,  and  are  usually  treated  with  simplicity  and  naturalness.  His 
realistic  powers  are  marked,  but  the  sentiment  of  his  pictures  is  not  always  equal  to 
their  technical  qualities. "  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Ex- 
hibition of  1876. 

Brown,  Henry  B.  (Am.)  Born  in  Portland,  Me.,  1831.  He  be- 
gan life  in  his  native  city  as  a  painter  of  signs  and  banners,  but  for 
the  last  twenty  years  has  devoted  himself  to  landscapes  and  marine 
views  with  success.  He  has  made  many  sketching-tours  along  the 
coasts  of  Maine  and  Nova  Scotia,  and  has  frequently  painted  the  rough 


102     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


scenery  of  the  Grand  Menan.  He  has  exhibited  in  England  and 
America,  and  his  works  are  owned  by  Longfellow,  Whittier,  and  other 
prominent  gentlemen.  His  "  East  Highlands  "  was  at  the  Philadel- 
phia Exposition  of  1876  ;  and  "  On  the  Androscoggin"  and  "  On  the 
Coast  of  Maine  "  at  the  Exhibition  in  the  Mechanics'  Fair,  Boston,  in 
1878.  Of  this  artist's  early  works,  Paul  Akers,  the  sculptor  and  critic, 
wrote  as  follows  to  the  Portland  Transcript,  December  29,  1860,  a  few 
months  before  his  death,:  — 

4 ' '  Twilight  on  the  Connecticut '  is  indicative  of  Mr.  Brown's  recognition  of  one  of  Na- 
ture's tenderest  moods.  I  know  of  no  picture  which  more  completely  renders  the  spirit 
of  early  summer  evening.  In  this  sketch  there  is  a  brave  violation  of  the  conventional 
mode  of  treating  distant  mountains.  They  are  brought  flat  and  sharp-edged  against  the 
sky,  even  as  if  inlaid  in  it,  as  is  the  crescent  moon.  This  is  as  it  should  he.  Yet  not 
one  artist  in  a  thousand  so  represents  the  distant  mountain-horizon. 

"  Other  pictures  attract  us  as  we  linger  among  those  which  are  of  this  year's  harvest ; 
but  they  are  landscapes  of  pleasant  inland  scenes,  rivers  with  living  trees  imaged  therein, 
traceable  by  ever-lessening  fringes  of  foliage  up  to  the  hills,  fields,  pastures,  with  the 
*  blue  sky  bending  over  all.'  But  these,  fine  as  they  are,  are  such  as  other  men  paint. 
That  which  is  more  remarkable  is  Mr.  Brown's  wonderful  rendering  of  the  sea.  I  do 
not  hesitate  to  say  that  in  this  department  of  art  he  stands  among  American  artists, 
unrivaled.  We,  who  have  lived  upon  the  most  picturesque  coast  of  our  continent,  may 
be  justly  proud  that  the  man  to  represent  its  character  as  none  other  can  should  be  one 
of  our  own." 

Brown,  George  L.  (Am.)  Born  in  Boston.  At  an  early  age  he 
studied  wood-engraving  in  his  native  city,  and  furnished  illustrations 
for  juvenile  publications  issued  by  several  Boston  houses.  Attracting 
the  favorable  notice  of  a  wealthy  Boston  merchant,  opportunity  was 
given  him  to  go  abroad,  and  he  studied  and  copied  the  masters  in  the 
Galleries  of  the  Louvre  for  some  time.  He  spent  several  years  in 
Florence,  where  he  painted  some  sixty  landscapes,  which  met  with  a 
ready  sale  in  his  own  country.  He  returned  to  America  in  1860,  and 
has  since  resided  in  South  Boston. 

Among  his  works  may  be  mentioned  "  Doge's  Palace  and  Grand 
Canal."  The  Boston  Art  Club  owns  one  of  his  works  ;  another  was 
presented  to  the  Boston  Athenaeum.  His  "  Palermo"  belongs  to  T.  G. 
Appleton  ;  "  Atrani "  and  "  Bay  of  Naples,"  to  Gov.  Claflin  ;  "  Foun- 
tain of  Trevi,"  to  Mrs.  Alvin  Adams;  and  "A  Moonlight  Scene,"  to 
the  Art  Union  of  Rome,  where  it  took  a  prize.  His  works  are  owned 
by  Gov.  Fairbanks  of  Vermont,  Henry  Ward  Beecher,  Lady  Clay- 
mont,  etc.  Brown's  "  Crown  of  New  England  "  was  purchased  by  the 
Prince  of  Wales  during  his  visit  to  this  country,  and  his  "  Bay  of  New 
York  "  was  presented  to  the  Prince  of  Wales  by  a  few  New  York  mer- 
chants. A  frame  of  landscapes  etched  by  Brown  on  copper  was  at  the 
Centennial  Exhibition  at  Philadelphia  in  1876,  as  well  as  his  "  Ariccia 
near  Rome  "  (water-color),  and  "  Venice,"  "  Sunset,  Genoa,"  and  "  Ni- 
agara by  Moonlight "  (in  oil),  the  last  belonging  to  H.  N.  Barlow.  At 
the  Mechanics'  Fair,  Boston,  1878,  was  exhibited  a  large  picture  of 
"  Capri,"  belonging  to  Mrs.  E.  D.  Kimball  of  Salem. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  103 


"  Brown,  having  been  educated  under  the  influence  of  the  best  schools,  has  knowledge 
of  drawing,  and  his  composition  is  of  no  inferior  order."  —  Jarves,  Art  Idea. 

"  Brown's  '  Sunset,  Genoa '  [1875J,  is  one  of  those  gorgeous,  idealized,  hazy  Italian 
scenes,  for  which  this  artist  is  so  much  noted,  in  the  vein  of  Turner.  The  effect  is,  of 
course,  fine,  although  there  is  a  sameness  in  Brown's  pictures,  common  characteristics 
pervading  alike  in  treatment  and  choice  of  scene."  —  Art  Journal,  May,  1875. 

Brown,  J.  Appleton.  (Am.)  Born  in  Newburyport,  Mass.,  1844. 
Pursued  his  art  studies  chiefly  on  the  Continent,  spending  some  time 
as  a  pupil  of  Simile  Lambinet  in  Paris.  On  his  return  to  America  he 
opened  a  studio  in  Boston,  where  he  still  resides,  and  where  he  has  a 
yearly  exhibition  of  his  works,  studying  from  nature  in  the  neighbor- 
hood of  his  native  city  during  the  summer  months.  To  the  Paris 
Salon  of  1875  he  sent  "  Summer"  and  "A  View  at  Dives  Calvados, 
France,"  the  latter  belonging  to  Geo.  D.  Howe.  '  His  "November," 
exhibited  at  the  Boston  Museum  of  Fine  Arts,  belongs  to  Martin 
Brimmer  ;  "  An  Old  Road  near  Paris,"  to  T.  G.  Appleton  ;  "  On  the 
Merrimack  at  Newburyport,"  to  Augustus  Flagg  ;  "  Autumn,"  to  Miss 
E.  Howes  of  Salem  ;  and  "  Storm  at  the  Isles  of  Shoals,"  to  G.  D. 
Howe. 

"  Witness  the  cloud  shadows  in  Mr.  Brown's  picture  ['  On  the  Artichoke,  West  New- 
bury '].  Though  done  with  one  sweep  of  the  brush,  it  would  be  hard  to  conceive  how 
any  subsequent  caressing  or  tinkering  could  add  an  iota  to  the  tender  and  evanescent 
loveliness."  —  Three  Boston  Painters,  Atlantic  Monthly,  December,  1877. 

Brown,  Agnes.  Born  at  Newburyport,  Mass.  Wife  of  J.  Apple- 
ton  Brown.  She  paints  in  oil,  landscapes,  flowers,  etc.,  and  has  of 
late  turned  her  attention  to  pictures  of  cats  as  a  specialty,  which  have 
been  likened  to  the  works  of  Gottfried  Mind.  She  exhibits  at  the 
Boston  Art  Club  and  elsewhere. 

Brown,  Charles  V.  (Am.)  Born  at  Philadelphia,  1848,  studying 
art  under  his  father,  J.  Henry  Brown,  and  under  Prof.  Schussele  and 
'Thomas  Eakins  at  the  Pennsylvania  Academy  of  Fine  Arts.  He  has 
devoted  himself  specially  to  portrait-painting  in  Philadelphia,  where 
his  professional  life  has  been  spent.  He  was  made  a  member  of  the 
Philadelphia  Sketch  Club  in  1874,  and  of  the  Society  of  Artists  in 
1877. 

Brown,  William  Beattie.  (Brit.)  Native  of  Haddington,  Scot- 
land. He  received  his  art  education  in  Edinburgh,  spending  his  pro- 
fessional life  in  that  city.  He  is  a  landscape-painter,  devoting  himself 
particularly  to  the  scenery  of  Scotland.  An  Associate  of  the  Boyal 
Scottish  Academy,  he  exhibits  there  andatthe  Koyal  Academy  in  Lon- 
don. Among  his  later  works  are,  "  Bolton  Abbey,"  "  Pass  of  Killiecran- 
kie,"  "  Harvest-Time,"  "  Blair  Athol,"  "  On  the  Lubnaig,"  "  Threave 
Castle,"  "  On  the  Kiver  Ericht,"  "  Road  thro'  the  Wood,"  "  Last  of  the 
Forest,"  "Foot  of  the  Glen,"  "Falls  of  the  Coron,"  "Early  Sum- 
mer in  the  Backwood,"  "Ripe  Oats,  —  Midlothian,"  "The  Whin- 
Gatherers,"  etc. 

Brown,  John  Lewis.  (Fr.)  Born  at  Bordeaux.   Chevalier  of  the 


104     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Legion  of  Honor.  Pupil  of  Camille  Boqueplan  and  Belloc.  At  the 
Salon  of  1877  he  exhibited  "  Piqueurs  a  la  francaise  "  and  "  A  Visit 
to  the  Salt  Marshes  of  Croisic"  ;  in  1876,  "High  Sea,  Mont  Saint- 
Michel  "  and  "  A  Sentimental  Journey  "  ;  in  1875,  "  Norman  Horse- 
Jockeys,"  "  The  Interrupted  Journey,"  and  "  The  Marshalsea  conducts 
to  the  Court  of  Guerande  a  Gang  of  Salt-Smugglers  of  Bourg-de-Batz  "  ; 
in  1874,  "  Landscape  and  Animals,"  "  Zoological  Garden,"  and  "  An 
Episode  of  the  Battle  of  Frceschwiller."  At  the  Salon  of  1878  Brown 
exhibited  "  An  Episode  in  the  Military  Life  of  the  Marshal  of  Con- 
flans  "  and  "  Deux  chasseurs  a  courre." 

Browne,  Mme.  Henriette  {nom  d'emprunt),  daughter  of  the 
Count  of  Bouteiller,  and  wife  of  M.  Jules  de  Saux.  (Fr.)  Born  at 
Paris,  1829.  Four-medals  for  painting  and  one  for  engraving.  Pupil 
of  Chaplin.  Her  genre  pictures  early  attracted  attention,  especially 
those  of  1855,  viz.  "A  Brother  of  the  Christian  School,"  "School  for 
the  Poor  at  Aix,"  "  Mutual  Instruction,"  and  "  The  Babbits."  In  1877 
she  exhibited  "  Portrait  of  Mile.  S. "  ;  in  1876,  "  The  Ducat "  and 
"The  Lover  of  Books"  ;  in  1875,  "  The  Parrot"  ;  in  1874,  two  por- 
traits and  "A  Poet"  (Egyptian)  ;  in  1873,  "Ca  ne  sera  rien"  and 
"  The  Medallion"  ;  in  1872,  "Alsace  !  1870"  and  a  portrait ;  in  1870, 
"  Portrait  of  the  Reverend  Father  H."  and  "  Oranges  in  Upper 
Egypt."  At  a  sale  at  Christie's  in  London  in  1876,  "  During  the 
War"  sold  for  <£262.  At  a  Paris  sale  in  1868,  "The  Sisters  of 
Charity"  sold  for  £  1,320.  At  the  salon  of  1878  Mme.  Browne  ex- 
hibited "  A  Grandmother  "  and  "  Convalescence." 

"That  which  pleases  in  her  talent,  is,  independently  of  the  skillfulness  of  the  painter, 
the  native  distinction  and  modesty  of  the  -woman,  an  artist  to  all  the  world  except  per- 
haps to  herself,  and  recognized  as  such  hy  her  peers  and  her  masters  without  betraying 
in'her  works  the  infatuation  of  dilettanteism.  Here  is  a  flower  of  good  color,  such  as  the 
best  education  produces.  It  seems  that  this  flower  gives  its  perfume  to  this  painter, 
who  is  a  woman  to  the  end  of  her  fingers,  and  remains  a  woman  of  the  world  without 
ceasing  to  be  an  artist.  Her  touch  without  over-minuteness  has  the  delicacy  and  the 
security  of  a  fine  work  of  the  needle.  The  accent  is  just  without  that  seeking  for 
virile  energy  which  too  often  spoils  the  most  charming  qualities.  The  sentiment  is  dis- 
creet without  losing  its  intensity  in  order  to  attract  public  notice.  The  painting  of 
Mme.  Henriette  Browne  is  at  an  equal  distance  from  grandeur  and  insipidity,  from 
power  and  affectation,  and  gathers  from  the  just  balance  of  her  nature  some  effects  of 
taste  and  charm  of  which  a  parvenu  in  art  would  be  incapable  The  contempora- 
neous critic  indulges  in  analogies  If  it  is  necessary  to  follow  this  mode,  we  would 

willingly  say  that  Mme.  Henriette  Browne  fills  in  French  painting  a  role  analogous  to 
that  of  those  aristocratic  English  ladies  who  disdain  not  to  write  a  romance,  who  even 
write  many,  and  produce  a  considerable  work,  whence  detaches  itself,  at  the  end  of  a 
certain  time,  some  more  luminous  page  which  remains  and  establishes  definitely  the 
rank  of  the  author.  Or  rather,  since  in  the  beginning  of  this  article  we  mentioned  the 
names  of  the  chiefs  of  Oriental  painting,  we  may  be  able  to  demand  a  place  for  her  be- 
side them,  which  they,  above  all  others,  would  not  hesitate  to  give.  Mme.  Henriette 
Browne  is  their  relative,  and  if  she  had  had  time  to  wait  before  choosing  her  pseu- 
donyme,  might  feminize  the  first  name  of  some  of  them  ;  for  her  painting  is  the  cousin  of 
theirs."  —  T.  Chasrel,  L'Art,  1877. 

"  The  picture  which  is  the  best  modern  instance  of  this  happy  hitting  of  the  golden 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  105 


mean,  whereby  beauty  and  homely  fact  are  perfectly  combined,  is,  in  my  eyes,  Henri- 
etta Browne's  picture  of  the  '  Sick  Child  and  the  Sisters  of  Charity,'  shown  some  years 
ago  in  Bond  street,  and  since  in  the  Great  Exhibition.  I  know  not  how  better  to  show 
that  it  is  easy  to  be  at  once  beautiful  and  true,  if  one  only  knows  how,  than  by  describ- 
ing that  picture.  Criticise  it,  I  dare  not ;  for  I  believe  that  it  will  surely  be  ranked 
hereafter  among  the  very  highest  works  of  modern  art.  If  I  find  no  fault  in  it,  it  is  be- 
cause I  have  none  to  find  ;  because  the  first  sight  of  the  picture  produced  in  me  instan- 
taneous content  and  confidence.  There  was  nothing  left  to  wish  for,  nothing  to  argue 
about.  The  thing  was  what  it  ought  to  be,  and  neither  more  nor  less,  and  I  could  look 
on  it,  not  as  a  critic,  but  as  a  learner  only."  —  Rev.  Chas.  Kingsley,  Fine  Arts  Quar- 
terly. 

Browne,  Hablot  Knight.  (Brit.)  Born  about  1812.  Early  dis- 
played a  marked  talent  for  drawing,  particularly  of  caricature.  As 
"  Phiz  "  he  is  known  as  the  designer  of  the  illustrations  of  the  novels 
of  Dickens,  Ains worth,  Lever,  Scott,  the  Abbotsford  Edition  of  the 
Waverley  Novels,  and  the  works  of  Byron,  etc.  His  first  drawings 
made  for  Dickens  were  in  1836,  on  "Pickwick."  A  drawing  of 
Browne's  entitled  "  Changeable  "  was  exhibited  at  the  Academy,  New 
York,  in  1871.     [Died,  1882.] 

"  Between  the  first  and  second  numbers  of  '  Pickwick,'  the  artist,  Mr.  Seymour,  died 
by  his  own  hands.  There  was  at  first  a  little  difficulty  in  replacing  him,  and  for  a  single 
number  Mr.  Buss  was  interposed.  But  before  the  fourth  number  a  choice  had  been 
made  which,  as  time  went  on,  was  so  thoroughly  justified  that  through  the  greater  part  of 
the  wonderful  career  which  was  then  beginning  the  connection  was  kept  up,  and  Mr. 
Hablot  Browne's  name  is  not  unworthily  associated  with  the  masterpieces  of  Dickens' 
genius. "  — Forster's  Life  of  Dickens,  Vol.  I.  Chap.  V. 

Brownell,  Charles  D.  W.  (Am.)  Born  at  Providence,  R.  I.,  1822. 
He  began  life  by  the  practice  and  study  of  the  law  in  Hartford,  Ct. 
Having  from  his  youth  a  decided  predilection  for  art,  he  turned  his 
attention  to  painting  as  a  profession  in  1854  or  '55.  In  1860  he  opened 
a  studio  in  New  York,  going  abroad  in  1865  and  spending  the  greater 
part  of  his  professional  life  since  that  time  in  Europe.  He  has  painted 
also  in  Cuba. 

Browning,  Robert  Barrett.  (Brit.)  Son  of  Robert  and  Elizabeth 
Barrett  Browning.  He  studied  art  in  Antwerp,  and  exhibited  for  the 
first  time  in  England,  at  the  Royal  Academy,  in  1878,  "A  Worker  in 
Brass,  Antwerp,"  a  picture  which  attracted  much  attention. 

"  The  primary  interest  of  this  work  arises  no  doubt  from  its  authorship,  but  besides 
this  it  has  conspicuous  promise  of  its  own,  and  indeed  in  no  small  measure  positive 
attainment.  The  handiwork  generally  is  noticeably  bold  and  solid,  some  of  the  object- 
painting,  such  as  the  specimen  of  brasswork,  is  highly  efficient  and  effective,  and  the 
whole  treatment  in  good  keeping,  the  accessories  being  what  they  should  be  and  where 
they  should  be."  —  William  M.  Rossetti. 

Brownscombe,  Jennie.  (Am.)  Born  in  Wayne  County,  Pa., 
1850.  She  received  her  art  education  under  Victor  Nehlig,  at  the 
schools  of  the  Cooper  Institute,  remaining  one  year  and  gaining  the 
Trustees'  silver  medal  for  drawing.  Later,  she  entered  the  National 
Academy  under  Prof.  Wilmarth,  and  won  there  the  Eliot  Medal  for 
drawings  from  the  antique.  Her  professional  life  so  far  has  been  spent 
5* 


106     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  New  York.  She  has  exhibited  frequently  at  the  National  Acad- 
emy. Among  the  more  important  of  her  pictures  are,  "  Grandmother's 
Treasures,"  purchased  by  William  H.  Penfold  (N.  A.,  1876) ;  "Autumn/' 
(1877)  ;  and  "June"  and  "Happy  Childhood"  (1878). 

Brozik,  Vacslav.  (Bohemian.)  Born  at  Pilsen.  Pupil  of  the 
School  of  Fine  Arts  at  Prague  and  of  Piloty.  Medal  of  the  second  class 
at  the  Salon  of  1878,  where  he  exhibited  "  The  Embassy  of  the  King 
of  Bohemia  and  Hungary  at  the  Court  of  Charles  VII.,  1457."  At 
the  Salon  of  1877  he  exhibited  "  The  Departure  of  Dagmar,  Daughter 
of  the  King  of  Bohemia,  affianced  to  Valdemar  II.,  King  of  Denmark, 
1205  "  and  an  "  Episode  of  the  War  of  the  Hussites,  in  Bohemia,  1419." 

Brtilow,  Alexandre.  (Russian.)  Born  at  St.  Petersburg  at  the 
beginning  of  the  nineteenth  century.  Among  the  more  important 
works  of  this  architect  are  the  Evangelical  Church  of  St.  Petersburg, 
the  Theater  of  Michailoff,  the  Observatory  of  the  Academy  of  Sciences, 
and  the  restoration  of  the  Winter  Palace  ;  in  which  last  he  was  asso- 
ciated with  StrasslofF. 

Brunet-Houard,  Pierre  Auguste.  (Fr.)  Born  at  Saint-Mai- 
xent.  Pupil  of  Couture.  Medal  at  Philadelphia,  where  he  exhibited 
"A  Dog  and  a  Monkey  "  and  "  The  Interior  of  a  Menagerie."  At 
Paris,  in  1876,  he  exhibited  "iWe  de  tir,  at  Fontainebleau  "  and 
4<  After  the  Action." 

Brunnow,  Ludwig.  (Ger.)  Exhibited  at  Philadelphia  a  statue, 
in  bronze,  of  Count  Moltke,  and  received  a  medal. 

Bruycker,  Francois  Antoine.  (Belgian.)  Born  at  Ghent,  1816. 
Pupil  of  the  Academy  of  Ghent,  and  of  Ferdinand  de  Braekeleer,  at 
Antwerp,  in  which  last  city  Bruycker  has  resided  since  1839.  His 
genre  pictures  and  his  flower-pieces  are  favorites  with  amateurs  and 
collectors.  "  Les  Soupcons"  (1842)  was  purchased  for  the  King  of 
Wiirtemberg.  "  The  Old  Gardener  "  (1857)  was  bought  by  the  Grand 
Duchess  Maria  of  Russia.  In  1860  "  The  Widow  "  took  a  gold 
medal  at  Amsterdam.  At  the  Crystal  Palace,  in  1864,  his  "Calling 
to  Mind  Old  Times  "  took  the  prize  of  forty  guineas  offered  "  for  the 
best  picture,  irrespective  of  subject,  by  a  foreign  artist,  not  French, 
resident  on  the  Continent."  It  was  purchased  by  Mr.  J ohn  Margetson. 
He  has  also  painted  "  Hot  Cockles,"  "  The  Frolic,"  "  Maternal  Kind- 
ness," "  A  Mother's  Happiness,"  etc.  At  the  Leipsic  Museum  is  his 
"  Child  playing  with  Kittens."  Among  his  works  are  "  Envy  and 
Defiance  "  (cats). 

Bryant,  Henry,  A.  N.  A.  (Am.)  Born  at  Hartford  (1812-1881). 
He  began  his  career  as  an  engraver  under  E.  Huntington,  turning  his 
attention  to  painting  about  1832,  and  opening  a  studio  in  New  York 
a  few  years  later.  In  1837  he  was  elected  an  Associate  of  the  National 
Academy.  He  has  spent  the  latter  part  of  his  professional  life  in  his 
native  city,  where  many  of  his  works,  landscapes  and  portraits,  are 
owned.   He  has  not  exhibited  at  the  National  Academy  in  many  years. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  107 


Bunce,  W.  Gedney.  (Am.)  Born  at  Hartford,  Ct.,  1840.  As  an 
artist  he  is  comparatively  self-taught.  He  has  spent  some  time  in 
study  at  Munich,  having  lived  on  the  Continent  for  a  number  of  years. 
At  present  (1878)  he  has  a  studio  in  Paris.  His  "Venice,  Night "  was 
at  the  Paris  Salon  in  1876  ;  "  Venice,  Morning,"  in  1878.  In  1878  he 
sent  to  the  Society  of  American  Artists  in  New  York  "  La  Luna 
Veneziana,"  and  to  the  Paris  Exposition,  "Approach  to  Venice." 

Buoninsegna,  Michele.  (Ital.)  Of  Bologna.  At  Philadelphia 
this  sculptor  exhibited  "  The  Slave,"  and  received  a  medal. 

Burchett,  Richard.  (Brit.)  Born  in  Brighton  (1817-1875). 
Studied  in  the  School  of  Design,  Somerset  House,  London,  and  in 
1845  was  appointed  Assistant  Master,  and  in  1851  Head  Master  of  the 
Schools  of  Art,  South  Kensington.  He  was  favorably  known  as  an 
artist  by  several  historical  paintings,  and  assisted  by  his  students  he 
executed  the  decorative  portraits  of  the  Tudor  Family,  in  the  ante- 
chamber of  the  New  House  of  Parliament.  He  contributed  but 
rarely  to  the  exhibitions. 

Burdick,  Horace  R.  (Am.)  Born  at  East  Killingsly,  Ct., 
1844.  Lived  in  Providence,  R.  I.,  for  some  years,  where  he  was  en- 
gaged in  a  photographic  establishment,  and  where  he  first  began  to 
draw  in  crayon.  Moved  to  Boston  in  1864  ;  opened  a  studio  in  1865, 
and  studied  for  some  years  in  the  life  classes  of  the  Lowell  Institute, 
and  of  the  schools  of  the  Museum  of  Fine  Arts.  His  portraits  are  in 
crayon  and  oil.    He  sometimes  paints  still-life. 

Burger,  Adolf  August  Ferdinand.  (Pole.)  Born  at  Warsaw 
(1833  -  1876).  Medal  at  Munich.  Pupil  of  the  Berlin  Academy  and 
of  Steffeck.  His  pictures  are  frequently  taken  from  the  life  of  the 
JVenden  people.  He  also  executed  decorative  work,  and  painted  por- 
traits. At  the  National  Gallery,  Berlin,  is  his  "  Burial  of  the  Wen- 
den,  in  the  Spreewald." 

Burgess,  John  Bagnold,  A.  R.  A.  (Brit.)  Born  in  London, 
1830.  He  was  a  pupil  of  the  late  Mr.  Leigh,  of  Newman  street, 
London  ;  studying  also  in  the  Royal  Academy,  where  he  gained  the 
first  silver  medal  for  best  drawing  from  life.  He  has  lived  in  Spain, 
taking  the  subjects  of  many  of  his  works  from  incidents  of  life  and 
character  in  that  country.  He  was  elected  an  Associate  of  the  Royal 
Academy  in  1877.  Among  his  more  important  pictures  are,  "Bravo 
Toro,"  a  picture  of  a  bull-fight,  at  the  Royal  Academy  in  1865; 
"  Stolen  by  Gypsies  "  (R.  A.,  1868)  ;  "  Kissing  Relics  in  Spain,"  in 
1869  ;  "  Visit  to  the  Nursery,"  in  1870  ;  "  The  Barber's  Prodigy," 
in  1875  ;  "  Licensing  Beggars  in  Spain,"  in  1877  ;  and  "  Childhood 
in  Eastern  Life,"  in  1878. 

"  Mr.  Burgess  is  still  faithful  to  Spanish  themes :  his  '  Licensing  the  Beggars '  is  full 
of  character,  a  spirited  picture,  worthy  to  rank  with  his  earlier  performances  of  the 
same  class. "  —  London  World,  May,  1878. 

Biirkel,  Henri.    (Ger.)    Born  at  Pirmasentz  (1802-  1869).  Hon- 


108     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


orary  Member  of  the  Academies  of  Munich,  Dresden,  and  Vienna. 
Biirkel  was  the  son  of  an  innkeeper,  and  was  early  placed  at  some 
commercial  pursuit,  but  showed  such  disinclination  for  it  that  he 
was  changed  to  an  office  of  a  Justice  of  the  Peace.  Here  he  em- 
ployed all  his  leisure  in  drawing  and  sketching  ;  the  visitors  at  his 
father's  house  affording  him  good  subjects.  In  1822  he  went  to 
Munich,  and  followed  the  course  at  the  Academy,  studying  also  with 
Guillaume  Kobell.  In  1831  he  went  to  Italy,  where  he  spent  two 
years.  He  has  depicted  a  great  variety  of  subjects,  but  his  best  pic- 
tures are  representations  of  popular  life,  such  as,  "  Scenes  in  an  Inn," 
"  Fetes  in  the  Alps,"  "  Village  Scenes,"  etc.  ;  these  are  true  to  life, 
and  painted  with  great  spirit.  In  1867  he  sent  to  Paris  "The  Envi- 
rons of  Rome"  and  a  "Winter  Scene  in  the  Tyrol"  ;  in  1868,  "A 
Chalet  in  the  Bavarian  Alps  "  and  "  The  Traveling  Menagerie." 

Burling,  Gilbert.  {Am.)  (1843  -  1875.)  Began  his  art  career  as 
a  painter  in  oil,  but  his  later  and  better  work  was  done  in  water- 
colors.  He  excelled  in  the  portrayal  of  game  birds,  and  contributed 
to  several  American  journals  articles  on  the  habits  of  birds,  which 
were  illustrated  by  his  own  drawings.  His  pictures  were  small  in 
size,  but  careful  in  finish  and  treatment.  He  was  a  frequent  contrib- 
utor to  the  American  Society  of  Painters  in  Water-Colors,  of  which  he 
was  a  prominent  member.  His  last  works  were  exhibited  in  1875,  — 
"  Normandy  Sketches,"  " Beach  below  East  Hampton,  L.  I."  and  a 
"  Canadian  Lake."  His  "  Old  Harness-Maker  "  is  in  the  collection  of 
Samuel  V.  Wright  of  New  York. 

Burne-Jones,  Edward.  (Brit.)  Intended  by  his  family  for  the 
Church,  he  was  educated  at  Exeter  College,  Oxford,  where  he  devoted 
much  of  his  spare  time  to  drawing.  Without  early  art  training,  and 
almost  entirely  self-taught,  he  determined  to  adopt  painting  as  a  pro- 
fession, and  has  attached  himself  to  the  so-called  "  romantic  school " 
of  Rossetti.  His  studio  is  in  London.  His  pictures,  until  within  a 
few  years,  were  rarely  publicly  exhibited.  Among  the  more  im- 
portant of  his  works  are,  "  Chant  d' Amour  "  (painted  in  1873),  "  Dor- 
othy," "  Cupid  and  Psyche,"  "  Circe,"  and  "  Spring."  To  the  Gros- 
venor  Gallery  of  1877  be  sent,  "  The  Beguiling  of  Merlin,"  "  The 
Days  of  Creation,"  "Venus's  Mirror,"  " Temperantia,"  "Fides,"  "Spes," 
"  St.  George,"  and  "  A  Sibyl "  (the  last  two  unfinished).  To  the 
same  gallery,  in  1878,  he  contributed  "Day,"  "Night,"  "Spring," 
"Summer,"  "Autumn,"  "Winter"  (painted  in  1867-68),  "Laus 
Veneris  "  (painted  in  1873  -  75),  "  Pan  and  Psyche,"  and  "  Perseus  and 
the  Graise."  His  "  Beguiling  of  Merlin,"  in  oil,  and  "  Love  as  Wis- 
dom" and  "Love  Among  the  Roses,"  in  water-colors,  were  at  the 
Paris  Exposition  of  1878.  "  The  Dark  Tower,"  belonging  to  Avery 
was  at  the  National  Academy,  New  York,  in  1874. 

"  There  may  possibly  be  some  of  our  readers  to  object  that  all  these  things  are  not 
life,  that  Mr.  Jones,  after  all,  does  not  paint  nature,  but  a  fantastic  ideal  of  his  own,  which 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  109 


is  nothing  to  you,  or  to  me,  or  to  any  of  us  in  the  nineteenth  century.  To  this  we  can 
only  reply,  that  Mr.  Jones  does  not  paint  every-day  nature,  but  that  what  he  paints  is 

the  quintessence  of  nature,  when  nature  is  loveliest  A  flower  painted  by  him  is  like 

a  flower  described  by  Keats  ;  all  the  fragrance  and  color  and  purity  of  it  are  caught  and 

concentrated  in  the  magic  pencil-strokes  The  sum  of  the  whole  matter  is  this,  that 

in  most  of  the  works  as  yet  produced  by  Mr.  Bume-Jones  there  have  been  faults  within 
the  correction  of  any  tyro,  and  that  in  all  of  these  there  have  been  beauties  beyond  the 
attainment  of  any  master  but  himself." —  Sidney  Colvin,  in  English  Painters  of  the  Pres- 
ent Day. 

"  Burne-Jones's  paintings  appear  from  dryness  of  treatment  to  be  in  distemper  on 
panel,  and  are  often  of  a  purely  decorative  character,  and  to  the  last  degree  ideal  in 
treatment  and  subject.  The  drawing  of  the  human  form  is  masterly,  and  it  cannot  be 
denied  that  the  harmonies  of  color  are  often  very  subtle  and  beautiful,  and  win  one  con- 
stantly to  return  and  gaze  long,  until  the  influence  of  the  scene  steals  into  and  wins  the 
half-reluctant  confession  that  these  paintings  are  often  inspired  by  unmistakable  power, 
and  occupy  a  high  but  anomalous  position  in  contemporary  art."  —  Benjamin's  Contem- 
porary Art  in  Europe,  1878. 

"  Mr.  Bume-Jones  has  no  work  here  [Grosvenor  Gallery,  1878]  of  as  great  decorative 
completeness  as  last  year's  '  Six  Days  of  Creation ' ;  but  we  encounter  in  the  vestibule  a 
startling  invention  of  his  which  is  destined  to  form  part  of  a  great  decorative  whole,  but 
which,  standing  as  it  does  here,  alone,  will  probably  strike  most  who  see  it,  at  first 
sight,  as  a  product  of  Japanese  rather  than  English  Art.  This  is  a  group  of  '  Perseus 
robbing  the  Three  Graise. '  .  .  . .  The  peculiarity  of  the  work  is  its  execution,  in  incised 
lines  cut  on  oaken  boards,  and  inlaid  with  silver  and  gold,  so  that  the  depth  of  the  lines 

conveys  what  there  is  of  light  and  shadow  The  mass  of  Mr.  Burne-Jones's  work 

will  be  found  in  the  place  of  honor  in  the  East  Gallery.  Five  of  the  pictures  are  emble- 
matic figures  of 'Day 'and  'Night,'  'Spring'  and  'Summer,'  'Autumn'  and  'Winter,' 
painted  in  1867  and  '68,  and  so  showing  the  painter  at  an  earlier  stage  of  his  progress, 
before  he  had  attained  the  full  mastery  of  his  resources  shown  in  the  two  larger  designs, 
'  Laus  Veneris '  and  '  Le  Jardin  d'Amour.' ....  It  is  impossible  to  limit  the  expression 
of  individual  genius,  and  we  may  therefore  congratulate  ourselves  in  possessing  in 
E.  Burne-Jones  a  painter  who  can  walk  in  the  ways  of  the  earlier  Renaissance  with 
so  stately  and  assured  a  step,  and  with  so  much  passion  and  fervor  of  imagination,  as 
well  as  such  splendid  mastery  of  color."  —  London  Times,  May  2,  1878. 

"  And,  indeed,  spiritual  as  is  Mr.  Burne-Jones's  poetical  art  in  the  first  place,  it  has  a 
tendency  to  become  little  more  than  a  trick  produced  by  the  point  of  the  brush.  As  to 
the  value,  in  a  large  sense,  of  this  art,  and  of  the  poetry  which  is  its  companion,  we 
must  seriously  protest  against  it  (with  a  reverence  for  its  genius  and  a  tenderness  for  its 
beauty)  as  unmasculine,  and,  what  is  worse  from  a  purely  artistic  standpoint,  self-con- 
sciously imitative,  nay,  unintelligently  imitative,  for  this  is  not  classical,  this  is  not 
medifeval  feeling  and  thought ;  it  is  fresh,  strenuous  paganism  emasculated  by  false 
modern  emotionalism.  These  archaic  affectations  are  more  modern,  more  entirely  of  the 
nineteenth  century,  than  is  a  factory  or  a  positivist."  —  Magazine  of  Art,  July,  1878. 

Burnet,  John.  (Brit.)  Born  near  Edinburgh,  Scotland  (1781  - 
1868).  He  received  his  art  education  at  the  Trustees'  Academy,  and 
studied  also  engraving  under  Robert  Scott  in  his  native  city.  He 
went  to  London  at  an  early  age,  furnishing  plates  for  Mrs.  Inchbold's 
"British  Theater,"  and  other  works.  The  first  important  picture 
engraved  by  Burnet  was  Wilkie's  "  Jew's- Harp,"  followed  by  "  The 
Blind  Fiddler,"  "  The  Village  Politicians,"  "  The  Village  School," 
"The  Reading  of  the  Will,"  "  The  Rabbit  on  the  Wall,"  and  other 
well-known  paintings  by  the  same  artist.    He  also  engraved  "  The 


110     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Jew,"  "  The  Crucifixion,"  "  The  Nativity,"  "  The  Salutation  of  the 
Virgin,"  after  Rembrandt,  etc.  He  practiced  painting  with  some 
success.  His  "Cows  Drinking"  and  the  "  Fish- Market"  are  in  the 
Sheepshanks  Collection.  His  "  Greenwich  Pensioners  "  was  engraved 
by  himself.  He  was  the  author  of  "  Practical  Hints  on  Painting," 
and  other  volumes  of  a  kindred  character. 

Burr,  John.  (Brit.)  Born  in  Edinburgh,  1831.  Educated  in  the 
Trustees'  Academy,  painting  portraits  and  landscapes  in  his  native  city 
for  some  years.  Went  to  London  in  1861,  where  he  still  resides.  Ex- 
hibited at  the  Royal  Academy  in  1862,  "  The  Poor  helping  the  Poor  "  ; 
in  1863,  "A  Traveling  Tinker"  ;  in  1865,  "The  Tender  Muse";  in 
1869,  "The  Intercepted  Letter"  ;  in  1870,  "A  Wandering  Minstrel"; 
in  1871,  "  The  Fifth  of  November"  ;  in  1873,  "  Children  of  the  Sea"  ; 
in  1875,  "Blackberry-Gatherers";  in  1876,  "Sea-side  Sport";  in 
1877,  "  The  Village  Doctor  "  ;  in  1878,  "  The  Truant." 

"  The  boy  peeping  in  fearfully  at  the  door  has  evidently,  under  the  inspiration  of 
modern  scientific  zeal,  dissected  the  bellows,  and  whether  they  will  ever  help  the  pot 
to  boil  again  is  doubtful  to  grandpa  ['Domestic  Troubles,'  R.  A.,  1876].  The  figure 
of  the  younger  child,  mute  with  awe  and  anxiety,  yet  not  wholly  guiltless  of  his 
naughty  brother's  curiosity,  is  very  delightful.  Avenging  Fate  at  the  chimney-piece  is 
too  severe."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Burr,  Alexander  H.  (Brit.)  Born,  1837.  Younger  brother  of 
John  Burr.  Educated  at  the  Trustees'  Academy  in  Edinburgh,  and 
exhibited  in  1856  at  the  Royal  Scottish  Academy,  "  The  Fruit-Stall"  ; 
in  1857," The  Politicians"  (engraved  byH.  Lemon);  in  1858,  "Caught 
Napping"  and  "The  Music  Party."  In  1861  he  settled  in  London 
with  his  brother,  sending,  however,  his  first  picture  to  the  Royal 
Academy  the  year  before,  "  Reading  the  Bible."  In  1862  he  sent  to 
the  Royal  Academy  "The  Mask";  in  1863,  "Dora";  in  1864,  "Fun  "; 
in  1869,  "The  Escape  of  Queen  Henrietta"  ;  in  1870,  "Charles  I. 
at  Exeter"  ;  in  1873,  "Echoes  of  the  Ocean"  ;  in  1876,  "Returning 
from  Market"  ;  in  1878,  "Music." 

Among  A.  H.  Burr's  other  works  are,  "  The  Jumping-Jack,"  "  The 
Flute-Player,"  "  Grandad's  Return,"  "  The  Lesson  "  (Brit.  Inst.  1865), 
"Holy  Water,"  "Nursing  Baby"  (Brit.  Inst.  1867),  and  "After  the 
Battle  of  Culloden,"  many  of  which  have  been  engraved. 

Bush,  Norton.  (Am.)  Born  in  Rochester,  N.  Y.,  1834.  He 
studied  art  with  James  Harris,  in  his  native  town,  for  some  time,  be- 
coming a  pupil  of  J.  F.  Cropsey  in  New  York  in  1852.  The  greater 
part  of  his  professional  life  has  been  spent  in  San  Francisco,  where 
his  studio  now  is.  He  was  in  New  York  from  1869  to  '72.  In  1853, 
'68,  and  '75  he  made  professional  visits  to  South  and  Central  America. 
He  was  elected  a  member  of  the  San  Francisco  Art  Association  in 
1874  ;  director  of  the  same  in  1878.  He  has  received  four  gold  medals 
from  the  State  Fair  of  California  for  painting.  He  devotes  himself 
particularly  to  tropical  scenery.    Among  his  works  are,  "  Lake  Nica- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  Ill 


ragua,"  belonging  to  Gov.  Stanford  ;  "  Bay  of  Panama,"  to  D.  D. 
Colton.  "  Summit  of  the  Sierras  "  and  "  River  San  Juan,  Nicaragua  " 
are  in  the  Crocker  Gallery,  Sacramento;  "Mount  Chimborazo," 
"  Volcano  Elmisti,  Peru,"  and  "  Mount  Meiggs,  Andes  of  Peru " 
belong  to  John  G.  Meiggs  of  London  ;  "  Western  Slope  of  Cordil- 
leras "  belongs  to  the  estate  of  W.  C.  Ralston ;  and  "  Cordilleras  of 
Ecuador,"  to  the  estate  of  S.  W.  O'Brien. 

Buss,  Robert  William.  (Brit)  Born,  1804.  Was  apprenticed 
to  his  father,  an  engraver  in  London,  and  subsequently  was  a  pupil 
of  George  Clint.  In  his  youth  he  executed  designs  for  the  Penny 
Magazine,  Knight's  Shakspere,  and  Cumberland's  "  British  Drama." 
Among  his  oil-paintings,  generally  of  a  humorous  character  and  many 
of  them  engraved,  are,  "  The  Biter  Bit,"  "  Soliciting  a  Vote,"  "  Chair- 
ing the  Member,"  "  The  Musical  Bore,"  "  The  Stingy  Traveler," 
"  The  Ghost  Story,"  "  Shirking  the  Plate,"  "  Master 's  Out,"  and 
"  Satisfaction."  His  "  Christmas  in  the  Time  of  Elizabeth,"  exhibited 
at  the  Society  of  British  Artists,  is  the  best  known  of  his  historical 
works,  and  his  "  Origin  of  Music  "  and  "  Triumph  of  Music  "  (20  by  19 
feet)  are  the  largest  and  most  successful  of  his  allegorical  subjects. 
They  are  in  the  possession  of  the  Earl  of  Hardwick.  Mr.  Buss  has 
also  furnished  illustrations  for  Marryatt's  and  Ainsworth's  novels, 
and  other  standard  works  of  fiction.  He  has  not  exhibited  in  public 
since  1855.    [Died,  1875]. 

Butin,  Ulysse-Louis-Auguste.  (Fr.)  Born  at  Saint-Quentin. 
Medals  in  1875  and  '78.  Pupil  of  Picot  and  Pils.  In  1877  he  ex- 
hibited at  the  Paris  Salon,  "  The  Departure  "  and  "  La  Peche  "  (a 
panel)  ;  in  1876,  "  Women  at  the  Capstan  at  Villerville  "  ;  in  1875, 
"  Saturday  at  Villerville,  —  the  Waiting  "  ;  in  1878,  "  The  Interment 
of  a  Marine  at  Villerville."    [Died,  1883.] 

Butler,  George  B.,  Jr.,  N.  A.  (Am.)  A  native  of  New  York,  he 
began  his  art  studies  in  that  city  under  Thomas  Hicks.  In  1859  he 
went  to  Europe,  entering  the  studio  of  Couture  in  Paris.  He  returned 
to  America  at  the  beginning  of  the  Civil  War,  serving  some  years  in 
the  army  and  losing  his  right  arm  in  action.  This,  however,  did  not 
interfere  with  his  painting,  as  he  has  always  held  the  brush  in  his 
left  hand.  Later  he  practiced  his  profession  in  San  Francisco,  had  a 
studio  in  New  York  for  some  years,  and  went  to  Italy  in  1875,  where 
he  still  resides.  He  was  made  a  full  member  of  the  National  Acad- 
emy in  1873.  His  specialty  is  the  painting  of  animals,  wild  and 
tame.  Judge  Daly  owns  his  "  Pomeranian  Dog,"  exhibited  in  1874 
at  the  National  Academy.  To  the  Paris  Exposition  of  1878  he  sent 
"  A  Cat,"  owned  by  H.  E.  Howland,  and  "  Dogs  on  the  Campagna," 
belonging  to  Richard  Butler. 

Cabanel,  Alexandre.  (Fr.)  Born  at  Montpellier,  1823.  Mem- 
ber of  the  Institute  ;  Professor  in  l'^cole  des  Beaux- Arts,  and  Com- 
mander of  the  Legion  of  Honor.    Medals  of  Honor  in  1865  and  '67. 


112     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Pupil  of  Picot.  In  1844  his  picture  of  "  The  Agony  of  Christ  "  gave 
him  considerable  notice,  and  the  next  year  he  gained  the  second 
prize  only,  hut  as  a  vacancy  occurred  at  Rome  he  was  granted  the 
pension.  At  the  Paris  Salon  of  1877  he  exhibited  "Lucretia  and 
Sextus  Tarquin,"  bought  by  Mr.  Hawk  of  New  York  ;  in  1876,  "  The 
Sulamite,"  belonging  to  Miss  Wolfe  of  New  York ;  in  1875, 
"  Thamar,"  now  in  the  Luxembourg  ;  in  1874,  "The  First  Ecstasy 
of  John  the  Baptist "  ;  in  1872,  "Giacomina"  (Florentine  costume); 
in  1870,  "  Death  of  Francesca  da  Rimini  and  Paolo  Malatesta,"  now 
in  the  Luxembourg ;  etc.  Cabanel  has  painted  numerous  portraits. 
Many  of  them  have  been  seen  at  the  Salons  ;  among  others,  that  of 
Napoleon  III.,  in  1865.  "  The  Glorification  of  St.  Louis  "  (1855)  is 
at  the  Luxembourg.  At  the  Corcoran  Gallery,  at  Washington,  is  his 
"  Death  of  Moses  "  (painted  in  1851),  spoken  of  in  our  first  extract 
below. 

At  the  Latham  sale,  New  York,  1878,  his  "  Marguerite  "  (30  by  21) 
sold  for  $  2,700.  At  the  Salon  of  1878  Cabanel  exhibited  two  por- 
traits. 

"  M.  Cabanel,  with  the  harmony  of  tones  and  the  softness  of  the  brush  which  seduces 
the  men  of  the  world,  knows  how  to  preserve  all  the  serious  qualities  of  the  artist.  He 
is  agreeable  and  tender  in  his  painting,  but  not  effeminate  ;  under  his  flesh,  so  soft  and 

of  so  line  a  grain,  there  are  bones,  muscles,  and  nerves  Any  other  painter  than 

M.  Cabanel,  taking  the  line  of  the  pretty,  would  perhaps  disturb  us  a  little ;  but  his 
grace  is  the  grace  of  strength,  and  in  order  to  be  convinced  of  this  it  is  sufficient  to 
think  of  the  '  Death  of  Moses,'  that  imposing  and  Michel-angesque  picture  with  which  he 
made  his  debut."  —  ThIsophile  Gautier,  AbccSdaire  &\i  Salon  de  1861. 

"  Our  conscience  as  a  critic  reproaches  us  for  nothing  in  regard  to  Cabanel.  We  have 
never  praised  more  than  was  proper  his  'Venus,'  his  '  Nymphe  enlevee,'  his  'Paradis 
perdu,'  but  we  admired,  for  their  aristocratic  distinction,  the  portraits  of  Mme.  de  Ganay 
and  the  Countess  of  Clermont  -  Tonnerre.  This  artist  has  not  long  maintained  this 
level ;  he  has  grown  insipid  very  rapidly ;  his  exhibition  of  1868  was  alarming,  that  of 
1869  is  truly  unworthy  of  his  past :  in  the  two  portraits  which  he  exposes,  Cabanel 
ceases  to  paint,  he  enters  the  domain  of  the  sugar-house.  We  are  convinced  that  he  had 
some  charming  models  ;  but  the  desire  to  be  amiable  and  to  sacrifice  to  the  graces  has 
led  him  to  suppress  all  the  characteristic  traits,  all  the  individual  marks,  which  are  the 
signs  of  life.  His  portraits,  grounded  and  polished  to  their  injury,  resemble  photo- 
graphs retouched  by  some  method  in  which  the  vulgar  search  for  conventional  genteel- 
ness  has  suppressed  the  individual  traits,  and  consequently  all  true  beauty."  —  Paul 
Mantz,  Gazette  des  Beaux- Arts,  June,  1869. 

Cabanel,  Pierre.  (Fr.)  Born  at  Montpellier.  Medal,  1873.  Pupil 
of  A.  Cabanel.  At  the  Salon  of  1877  he  exhibited  "  Shipwreck  on 
the  Coasts  of  Brittany  "  ;  in  1875,  "  Nymph  surprised  by  a  Satyr  "  ;  in 
1874,  "  The  Death  of  Abel "  ;  in  1873,  «  The  Flight  of  Nero." 

Cabat,  Nicolas-Louis.  (Fr.)  Born  at  Paris,  1812.  Member 
of  the  Institute,  and  Officer  of  the  Legion  of  Honor.  Pupil  of  Camille 
Flers.  Early  in  life  he  visited  many  picturesque  parts  of  France,  and 
his  first  landscapes  (1833)  were  accused  of  realism.  He  continued 
to  paint  to  please  himself,  and  in  time  received  much  honor.  He 
has  twice  visited  Italy.    His  "  L'etang  de  ville  d'Avray  "  and  "  An 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  113 


Autumn  Evening  "  are  in  the  Luxembourg.  His  "  Souvenir  of  Lake 
Nemi "  was  purchased  by  the  Ministry  of  the  Beaux- Arts.  In  1877  he 
exhibited,  "  A  Morning  in  the  Park  of  Magnet,"  "  After  the  Shower," 
and  a  pastel,  "  Sunset  "  ;  in  1873,  "  A  Lake  "  and  "  A  Pool "  ;  in  1872, 
"  Stormy  Weather  "  and  "A  Druid  Fountain";  in  1869,  "After  the 
Shower  "  (view  of  Berry),  and  "  Solitude  "  (in  the  Tyrol),  etc.  At 
the  De  Tretaigne  sale  in  Paris,  1872,  "A  View  in  Normandy"  sold 
for  £  140. 

Cabet,  Jean-Baptiste-Paul.  {Ft.)  Born  at  Nuits  (1815  - 1876). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Nargeon,  and  Rude, 
whose  daughter  he  married.  From  1846  to  '52  he  was  occupied  in 
Russia,  where  he  executed  some  decorations  in  the  church  of  Saint- 
Isaac  at  St.  Petersburg,  made  several  busts  of  members  of  the  royal 
family,  and  erected  a  monumental  Fountain  at  Odessa.  In  1872  he 
exhibited  at  the  Salon  a  plaster  figure  of  MDCCCLXXI.  It  was 
purchased  by  the  State,  to  be  cut  in  marble.  In  1875  he  executed  a 
figure  of  "  Theology,"  cut  in  stone,  for  the  church  of  the  Sarbonne. 
"  The  Awakening  of  Spring "  was  cut  in  stone  for  the  court  of  the 
Manege  of  the  Louvre ;  the  same  subject  in  marble  is  in  the  Museum 
of  Dijon.  This  artist  has  made  many  portrait  busts,  and  after  the 
death  of  Rude  he  completed  some  works  left  unfinished  by  that 
sculptor.  Cabet  executed  for  the  city  of  Dijon  a  statue  of  "  Resist- 
ance," to  commemorate  the  combat  of  October  30,  1870.  He  repre- 
sented the  figure,  with  flag  in  hand,  marching  to  the  enemy.  Some 
persons  thought  that  in  it  they  traced  the  republican  sentiments  of  the 
sculptor,  and  in  October,  1875,  the  statue  was  thrown  from  its  pedestal 
and  broken  in  pieces.  Cabet  did  not  live  to  see  its  restoration,  but 
there  is  no  fear  that  the  second  one  will  meet  a  like  fate.  Cabet  was 
a  member  of  the  jury  of  l'Jicole  des  Beaux- Arts,  and  after  1864  was 
always  elected  on  the  jury  of  the  yearly  expositions.  He  was  much 
beloved  and  respected  by  his  fellow-artists  ;  his  nature  was  profound 
and  loyal,  his  industry  was  untiring,  and  though  he  had  long  suffered 
from  a  cruel  disease,  which  necessitated  a  terrible  operation,  he  worked 
on,  and  at  the  time  of  his  death  was  occupied  with  a  group  in  marble 
for  the  Pantheon,  called  "  Saint  Martin." 

Cafferty,  James  H.,  N,  A.  (Am.)  (1819-1869.)  His  merits  as 
a  portrait-painter  won  for  him  decided  reputation  in  his  early  years, 
but  towards  the  end  of  his  life  he  painted  game  pictures  and  still-life. 
He  was  elected  an  Associate  of  the  National  Academy  in  1849,  and 
Academician  in  1853.  In  1867  he  sent  to  the  Academy  a  portrait,  "  My 
Girl";  in  1868,  "My  Father"  and  several  studies  of  fish;  in  1869, 
"Brook  Trout"  and  "The  Grave-Digger"  (from  Hamlet),  his  name 
being  associated  in  the  latter  picture  with  that  of  L.  M.  Wiles.  Many 
of  his  game  pictures  are  in  the  possession  of  Dr.  F.  N.  Otis. 

Caffi,  Hippolyte.  (ltd.)  Born  at  Belluna,  1814.  His  family, 
which  was  a  rich  one,  became  poor  in  his  childhood,  and  he  struggled 

H 


114     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


with  poverty  while  he  pursued  his  studies.  At  Venice  he  won  aca- 
demic honors  that  freed  him  from  military  service,  and  earned  money  to 
go  to  Rome.  His  "  Carnival,"  which  was  at  Paris  in  1855,  has  been 
repeated  by  him  more  than  forty  times  for  amateurs.  Cam  entered 
the  army  in  1848,  and  afterwards  took  refuge  in  Piedmont,  where  his 
works  are  popular.    His  subjects  are  chiefly  monumental  views. 

Caille",  Joseph-Michel.  (Fr.)  Born  at  Nantes,  Medals  at  Paris 
in  1868,  '70,  and  '74.  Pupil  of  Duret  and  Guillaume.  At  Philadel- 
phia he  exhibited  "  A  Bacchante  playing  with  a  Panther,"  in  bronze, 
and  received  a  medal.  At  the  Salon  of  1878  he  exhibited  "  Elegy," 
statue  in  stone,  for  the  Palace  of  the  Tuileries.  [1843-1881.] 

Calamatta,  Luigi.  (Ital.)  Born  at  Civita  Vecchia  (1802  -  1869). 
Officer  of  the  Legion  of  Honor.  In  Italy  he  studied  under  Marchetti 
and  Giangiacomo.  Went  to  Paris  when  very  young.  He  belonged 
to  the  severe  school,  and  his  engravings  are  remarkable  for  correct- 
ness and  exquisite  finish.  He  first  exhibited,  at  the  Salon  of  1827, 
"  Bajazet  and  the  Shepherd,"  after  Dedreux  Dorcy.  At  the  Salon  of 
1869,  after  the  death  of  Calamatta,  his  engraving  of  "  La  Source," 
after  Ingres,  was  exhibited  ;  in  1863,  the  "  Madonna  della  Sedia," 
after  Raphael  ;  in  1859,  "  Portrait  of  Rubens,"  after  himself,  and  the 
"  Madonna  di  Foligno,"  after  Raphael ;  in  1857,  "  Beatrice  Cenci," 
after  Guido  ;  etc.  His  works  are  quite  numerous.  His  plate  of 
"  Martha  and  Mary,"  after  Lesueur,  was  bought  by  the  Calcographie 
of  the  Louvre  for  £  600.  Calamatta  died  at  Milan,  but  was  taken 
to  Nohant,  to  the  chateau  of  Mme.  Sand,  for  burial,  his  daughter  hav- 
ing married  M.  Maurice  Sand. 

Calamatta,  Mme.  Josephine,  wife  of  the  preceding,  is  a  painter. 
She  has  received  two  medals  at  the  Salons.  In  1877  she  exhibited 
"An  Idyl"  and  "  Dear  Grandma  !";  in  1876,  "  The  First  Gift  "  ;  in 
1875,  "A  Portrait"  ;  in  1851,  "  St.  Veronica  "  ;  in  1848,  "Eve";  and 
in  1878,  "  Philippa  of  Hainault "  and  a  portrait. 

Calame,  Alexandre.  (Swiss.)  Born  at  Vevay  (1810-1864). 
Member  of  the  Academies  of  St.  Petersburg  and  Brussels.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Diday.  He  traveled  in  Germany, 
the  Netherlands,  England,  and  Italy.  His  pictures  of  wild  mountain 
scenery  are  remarkable  both  in  drawing  and  color.  Some  writers 
have  likened  the  poetic  vein  in  his  works  to  that  of  Corot,  saying  that 
in  Calame  the  same  feeling  took  on  a  more  robust  expression.  At  the 
National  Gallery,  Berlin,  is  his  "  Lake  Lucerne  "  and  "  A  Mountain 
Ravine."  At  the  Leipsic  Museum  are  several  works  of  his,  and  in 
the  Walters  Gallery  at  Baltimore  there  is  a  large  picture  of  Alpine 
scenery  by  him.  The  etchings  and  lithographs  of  Calame  are  famous  ; 
the  latter  are  very  numerous  :  the  eighteen  views  of  Lauterbrunnen 
and  Meyringen,  and  twenty-four  views  of  Alpine  scenery,  are  well 
known  and  much  admired.  The  works  of  Calame  are  rare  in  this  coun- 
try, and,  indeed,  they  are  not  numerous  in  any  case.  When  offered  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  115 


sale  they  are  quietly  bought  by  connoisseurs  at  large  prices.  Few,  if 
any  painters  have  represented  the  scenery  of  the  Alps  with  the  true 
spirit  we  feel  in  the  pictures  of  this  Swiss  artist ;  he  was  born,  reared, 
lived,  and  died  in  their  midst.  They  spoke  to  him  a  language  which 
he  has  translated  with  his  brush  ;  he  loved  and  he  knew  how  to  tell 
his  love  of  these  glorious  heights  ;  those  on  his  canvases  bear  one  up 
above  low  and  depressing  things,  just  as  the  Alps  themselves  do. 

Calandrelli,  Alexander.  (Ger.)  Born  in  Berlin,  1834.  Studied 
in  the  Academy  of  Berlin  ;  worked  under  Drake  and  August  Fischer. 
Was  in  Italy  for  a  short  time.  Among  his  works  are  the  statue  of 
Cornelius  in  the  old  Museum,  a  relief  on  the  column  of  Victory  in 
the  Konigsplatz,  and  the  equestrian  statue  of  Frederick  William  IV., 
for  the  space  before  the  National  Gallery.  He  also  executed  the 
figure  called  "  Kunstgedanke "  ("  Art  Thought ")  in  the  National 
Gallery,  Berlin. 

Calderon,  Philip  H.,  R.  A.  (Fr.-Brit)  Born  in  France,  1833. 
Went  to  England  in  his  boyhood,  and  began  the  study  of  art  in  Lon- 
don in  1850,  studying  in  Paris  under  Picot  the  next  year.  He  ex- 
hibited at  the  Royal  Academy,  London,  in  1857,  "  Broken  Vows  "  ; 
1858,  "The  Gaoler's  Daughter";  1860,  "Nevermore"  ;  1866,  when 
he  was  made  Associate  of  the  Royal  Academy,  "  Her  most  High, 
Noble,  and  Puissant  Grace "  ;  1868,  he  was  raised  to  the  rank  of 
Academician,  and  exhibited  the  "  Young  Lord  Hamlet "  and 
"Whither?"  (his  diploma  work);  1871,  "  On  her  Way  to  the 
Throne  "  and  the  "  New  Picture  "  ;  1872,  a  portrait  of  H.  S.  Marks, 
A.  R.  A.,  and  "  Summer"  ;  1873,  "Good  Night"  and  "  The  Moon- 
light Serenade";  1874,  "Half-Hours  with  the  Best  Authors"  and 
the  "Queen  of  the  Tournament";  1875,  "  Toujours  fidele"  and 
"Great  Sport";  1876,  "The  Nest,"  "Watchful  Eyes,"  and  "His 
Reverence  "  ;  1877,  "  Joan  of  Arc,"  "  Constance,"  "  Reduced  Three 
Per  Cents,"  and  "The  Fruit-Seller"  ;  1878,  "  La  Gloire  de  Dijon" 
and  a  portrait  of  the  Marquis  of  Waterford.  He  received  the  first- 
class  medal  of  the  Paris  Expositions  of  1867  and  1878. 

His  "  After  the  Battle,"  "  Desdemona,"  and  "  The  Siesta  "  were  at 
the  Centennial  Exhibition  in  Philadelphia  in  1876,  and  a  number  of 
works  at  Paris  in  1878. 

"  Calderon's  '  Day  of  the  Massacre  of  St.  Bartholomew '  (R.  A. ,  1863)  represents  the 
interior  of  the  British  Embassy,  where  the  great  name  of  Elizabeth  and  the  presence  of 
the  wise  Walsingham  keep  open  a  single  harbor  of  refuge  from  the  bloody  storm  of  per- 
secution without  This  picture  is  full  of  light  and  air,  firmly  though  dryly  colored 

and  drawn.  A  few  hard  outlines  have  been  left  here  and  there.  Perhaps  this  is  the 
most  complete  and  original  thing  of  its  kind  exhibited."  —  Palgrave's  Essays  on  Art. 

"The  great  merit  of  this  picture  ('Victory,'  R.  A.,  1873)  is  its  well-defined  descrip- 
tion, its  pointed  narrative,  and  its  beauty  of  execution."  —  Art  Journal,  June,  1873. 

"But  Calderon's  real  field  is  that  which  lies  between  history  and  home.  He  loves  to 
lift  the  curtain  between  us  and  the  domestic  life  of  the  past,  and  this  he  does  with  a 
pure,  healthful,  and  graceful  fancy  More  lately  he  has  shown  a  leaning  to  classi- 


116     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


cal  subjects,  as  in  his  ' Mnone,'  1868,  and  '  Virgin's  Bower '  and  'Spring  pelting  Winter 
with  Flowers,'  in  1870  "  —  Tom  Taylor,  in  English  Painters  of  the  Present  Day. 

"  '  After  the  Battle'  and  '  The  Siesta,'  by  Mr.  Calderon,  are  both  clever :  the  former 
tells  its  story  with  very  decided  interest ;  the  latter  is  probably  a  more  recent  work, 
evincing  greater  breadth  and  freedom  in  execution."  —  Prof.  Weir's  Official  Report  of 
the  American  Centennial  Exhibition  o/1876. 

Calverley,  Charles,  N.  A.  (Am.)  A  pupil  of  Palmer  in  Albany. 
Has  occupied  a  studio  in  New  York  for  some  years.  He  was  elected 
an  Associate  of  the  National  Academy  in  1872,  Academician  in  1875. 
Among  his  sculptures  are,  "  The  Little  Companions,"  "  Little  Ida  " 
(medallion),  busts  of  Horace  Greeley  (at  Greenwood),  of  Charles 
Loring  Elliott,  N.  A.,  Eev.  John  MacLean,  ex-President  of  Princeton 
College,  and  of  John  Brown  (belonging  to  the  Union  League  Club). 
He  sent  his  J ohn  Brown  (in  bronze)  and  a  bas-relief  of  Peter  Cooper 
to  the  Centennial  Exhibition  at  Philadelphia  in  1876. 

Calvi,  Pietro.  (Ital.)  Of  Milan.  At  Philadelphia  he  exhibited 
"  The  Flower  "  and  "  Michael  Angelo,"  and  received  a  medal.  This 
sculptor  exhibited  at  the  London  Academy  in  1872,  "  Selika "  and 
«  Othello." 

Cambi,  Ulisse.  (Ital.)  Born  at  Florence,  1807.  After  complet- 
ing his  course  at  the  Academy  of  Florence,  he  went  to  Eome  to  study, 
and  from  there  sent  his  group  of  "  Daphnis  and  Chloe,"  which  was 
put  into  marble  for  Count  Ladarel  in  1841.  In  1844  he  executed  the 
monument  to  Giuseppe  Sabatelli  in  the  Choir  of  Santa  Croce  ;  in 
1845,  the  statue  of  Benvenuto  Cellini  for  the  Loggia  of  the  Uffizi  ;  in 
1849,  the  monument  of  the  Marquis  Luigi  Tempi  for  the  Church  of 
the  Annunziata  at  Florence,  —  a  bas-relief  on  which,  representing  a 
choir  of  angels,  is  exquisite.  Among  other  good  works  we  may  name, 
the  "Dancing  Bacchus,"  "Begging  Cupid"  (exhibited  at  Paris  in 
1867),  the  "  Fisher-Boy,"  "  Eve  and  her  two  Children"  (the  figure  of 
Abel  very  fine),  colossal  statue  of  Francesco  Burlamacchi,  erected  at 
Lucca,  and  the  beautiful  statue  of  Goldoni  near  the  Ponte  della 
Caraia  at  Florence,  erected  in  1873.  His  small  terra-cotta  models 
are  much  valued  by  amateurs.  He  is  not  grand,  but  in  the  pretty 
and  agreeable  he  is  unrivalled.  When  his  "  Eve  "  was  first  exposed 
it  was  much  admired,  but  while  it  is  certainly  graceful  and  pleasing, 
it  carries  the  impression  that  Eve  knew  that  people  were  looking  at 
her  and  had  posed  for  admiration.  At  the  Paris  Exposition,  1878,  he 
exhibited  "  A  Hunter,"  a  statuette  in  marble. 

Cambon,  Armand.  (Fr.)  Born  at  Montauban.  Medals,  1863 
and  '73.  Pupil  of  Delaroche  and  Ingres.  At  the  Salon  of  1876  he 
exhibited  "  Koland  fighting  the  Ork  in  Defence  of  Olympia  "  ;  in  1875, 
"  Echo  and  Narcissa" ;  in  1874,  "The  Evening  and  Morning  of  Life." 
He  has  exhibited  also  several  portraits. 

Cambos,  Jules.  (Fr.)  Born  at  Castres.  Medals  at  Paris  in 
1864,  '66,  and  '67.  Pupil  of  Jouffroy.  At  Philadelphia  he  exhibited 
"La  Cigale"  and  "Let  Him  without  Sin  cast  the  first  Stone  "  (in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  117 


bronze),  and  received  a  medal.  At  the  Salon  of  1878  he  had  a  por- 
trait bust  in  marble  of  Ruprich -Robert,  architect. 

Cameron,  Hugh.  {Brit.)  Born  in  Edinburgh.  He  was  educated 
in  the  Trustees'  Academy,  working  at  his  profession  in  that  city  until 
his  removal  to  London  in  1876.  He  paints,  generally,  small  genre 
pictures,  illustrative  of  the  homely  cottage  life  of  Scotland,  exhibiting 
in  the  Royal  Academy  and  the  Royal  Scottish  Academy,  of  which 
latter  institution  he  has  been  a  member  for  some  years.  He  has 
lately  produced  some  small  water-color  drawings  of  Venetian  views. 
Among  his  works  are,  "Tea-Time,"  "Rummaging,"  "By  the  Sea- 
shore, "  Help  from  Tiny  Hands,"  etc. 

His  "  Age  and  Infancy  "  was  at  the  Philadelphia  Exhibition  of  1876, 
and  "  Maternal  Care"  and  "  Alone,"  at  the  Paris  Exposition  of  1878. 

Cammerano,  Michele.  (Ital.)  Of  Rome.  Medal  at  Philadelphia, 
where  he  exhibited  "  The  Grandmother's  Admonition,"  which  was 
one  of  the  best  pictures  of  the  Italian  section. 

Camphausen,  Guillaume.  (Ger.)  Born  at  Diisseldorf,  1810. 
Professor  and  member  of  the  Academy  at  Diisseldorf,  where  he 
studied.  He  painted  horses  and  battle-scenes,  and  for  the  purpose  of 
knowing  his  subjects  better  he  joined  a  company  of  hussars,  and  re- 
mained several  years  with  them.  He  traveled  in  Belgium,  Holland, 
Switzerland,  Italy,  and  Germany.  Among  his  works  are,  "  Puri- 
tans observing  the  Enemy,"  purchased  by  the  Consul  "Wagner  of  Ber- 
lin, and  copied  for  the  King  of  Hanover  ;  "  Charles  II.  at  the  Retreat 
of  Worcester,"  purchased  by  the  King  of  Bavaria  ;  "  Taking  of  the 
Entrenchment  of  Duppel,"  purchased  by  the  Emperor  of  Germany,  at 
the  Exposition  of  1867;  "Cavaliers  and  Roundheads ";  etc.  This 
artist  has  also  made  many  designs  for  illustrated  publications,  espe- 
cially for  the  "  Almanach  mensuel  de  Diisseldorf."  In  1870  he  ex- 
hibited "  The  Attack  of  Dragoons  at  Nachod." 

Camuccini,  Vincenzo.  (Ital.)  Born  in  Rome  (1775- 1844).  Mem- 
ber of  the  Institute  of  France.  President  of  the  Academy  of  St. 
Luke.  Roman  Baron,  and  a  Knight  of  the  Austrian  Order  of  the  Iron 
Crown.  A  poor  boy,  he  studied  drawing  under  his  brother  Pietro  and 
the  engraver  Bombelli.  He  copied  much  from  the  works  of  the  great 
masters.  The  "  Death  of  Csesar  "  and  the  "  Death  of  Virginia,"  two 
well-known  works,  were  painted  for  Lord  Bristol ;  copies  of  these  are 
at#  Naples.  Many  of  his  pictures  are  illustrative  of  events  in  Roman 
history.  His  painting  of  "  St.  Thomas  the  Apostle "  was  made  for 
the  Vatican,  and  has  been  reproduced  in  mosaic.  For  the  church  of 
San  Giovanni  in  Piacenza  he  painted  a  magnificent  "  Presentation 
of  Christ  in  the  Temple,"  which  is  much  praised  by  Giordani.  As 
a  portrait-painter  he  was  compared  to  Rubens  and  Tintoretto.  His 
portrait  of  Pius  VII.  is  in  the  Gallery  of  Vienna.  He  executed  some 
fine  ceilings,  in  fresco,  in  the  Palace  of  Prince  Torlonia,  at  Rome. 
Canella,  Giuseppe.    (Ital.)   Born  at  Verona  (1788  -  1847).  Gold 


118     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


medal  of  Louis  Philippe.  His  father  was  a  decorative  artist,  and  the 
son  early  showed  his  love  of  painting.  After  various  other  works, 
he  made  two  landscapes  for  Doctor  Sprea  of  Verona,  which  were  so 
much  praised  at  the  Brera  at  Milan,  that  he  devoted  himself  entirely 
to  landscape-painting.  He  traveled  in  France,  Germany,  and  Swit- 
zerland, and  when  visiting  Tuscany  died  at  Florence,  where  he  is 
buried  in  Santa  Croce.  At  Venice  he  refused  a  professorship  which 
was  offered  him.    His  pictures  are  fine. 

Caraud,  Joseph.  (Fr.)  Born  at  Cluny.  Chevalier  of  the 
Legion  of  Honor.  Medals,  1859,  '61,  and  '63.  Pupil  of  Abel  de 
Pujol.  To  the  Paris  Salon  of  1878  he  sent  "  Louis  XV.  and  Madame 
du  Barry  at  the  Petit  Trianon"  and  "A  Coffee- Mill " ;  in  1877, 
"  Spring"  and  "  The  Pleased  Abbe  "  ;  in  1876,  "  The  Little  Farmer." 

Carlin,  John.  (Am.)  Born  in  Philadelphia,  Pa.,  1813.  He  grad- 
uated at  the  Pennsylvania  Institute  for  the  Deaf  and  Dumb,  after 
four  years'  schooling,  in  1825.  He  studied  drawing  under  J.  R. 
Smith,  and  portrait-painting  under  John  Neagle,  in  New  York,  in 
1833  and  '34.  In  1838  he  went  to  London,  spending  some  months 
in  the  study  of  the  antique  in  the  British  Museum,  and,  going  thence 
to  Paris,  he  became  a  pupil  of  Paul  Delaroche.  He  returned  to 
America  in  1841,  taking  up  his  permanent  residence  in  New  York, 
devoting  himself  to  miniature-painting  on  ivory  for  many  years.  His 
portraits  in  that  medium  are  owned  in  various  quarters  of  the  United 
States.  Since  the  popularity  of  photography  he  has  turned  his  atten- 
tion to  landscapes  and  genre  subjects,  painting,  among  others,  "  The 
Flight  into  Egypt,"  "  Dolce  far  niente,"  "  Red  Riding-Hood,"  "  Pulpit 
Rock,  Nahant,"  "  Old  Fort,  St.  Lawrence  River,"  and  others,  sent  to 
the  annual  exhibitions  of  the  Artists'  Fund  Society,  of  which  he  has 
been  a  member  since  1859.  He  has  been  a  frequent  contributor  to 
the  National  Academy,  sending,  in  1870,  "Playing  at  Dominos"  ;  in 
1871,  "An  Autumn  Afternoon";  in  1873,  "A  View  of  Trenton 
Falls"  (belonging  to  J.  G.  Brown);  in  1875,  "The  Toll-Gate";  in 
1877,  "Nodding"  ;  in  1878,  "After  Work." 

Caron,  Adolphe- Alexandre- Joseph.  (Fr.)  Born  at  Lille  (1797- 
1867).  Chevalier  of  the  Legion  of  Honor.  This  engraver  studied 
with  Bervic,  and  made  his  debut  at  the  Salon  of  1822.  He  executed 
many  commands  for  the  government  and  for  the  Societe  des  Amis  des 
Arts.  He  made  copperplate  engravings  and  etchings.  Among  his 
plates  are,  "  Madame  de  Sevigne,"  after  A.  Deveria  ;  "  The  Nativity," 
after  Decaisne  ;  "  The  Resurrection  of  Jairus'  Daughter,"  after  T. 
Johannot ;  "  Christ  in  the  Garden  of  Olives "  and  "  Faust  watching 
Marguerite,"  after  Ary  Scheffer  ;  "  The  Lesson  on  the  Harp,"  after 
Cosway  ;  etc. 

Caron i,  Prof.  Emmanuele.  Sculptor  of  Florence.  Born  in 
Switzerland.  At  the  Philadelphia  Exhibition  were  seen  his  "  Effects 
of  Cold  Water,"  "  L'Africaine,"  "  Bust  of  a  Roman  Girl,"  "A  Christ- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  119 


mas  Present,"  "  Recreation  at  School,"  and  "  Youth  as  a  Butterfly," 
which  last  is  in  the  Corcoran  Gallery.  Washington.  The  catalogue  of 
the  Centennial  says  :  — 

"  This  statue  represents  first  youth  in  the  form  of  a  butterfly  which,  while  flying  over 
the  pleasures  of  life,  is  entangled  in  a  net  that  awakens  to  reality." 

The  catalogue  of  the  Corcoran  Gallery  says  :  — 

"  The  graceful  poise,  startled  look,  and  delicate  limbs  of  this  figure,  combined  with 
elaborate  execution  of  the  flowers  and  net,  make  it  a  notable  example  of  the  picturesque 
style  of  the  modern  Italian  sculpture." 

Carpeaux,  Jean  Baptiste.  (Fr.)  Born  at  Valenciennes  (1827- 
1875).  Chevalier  of  the  Legion  of  Honor.  Medal  of  Honor  at  Brus- 
sels. Carpeaux  was  a  pupil  in  l'Ecole  des  Beaux- Arts  at  Paris,  and 
studied  under  Rude,  Duret,  and  Abel  de  Pujol.  He  gained  fourteen 
medals,  and  in  1854  took  the  prix  de  Rome.  In  1859  he  exhibited  a 
"Young  Fisher,"  in  bronze,  which  showed  his  inclination  to  disre- 
gard conventionalities.  The  group  of  "  Ugolino  and  his  Children  " 
(1873),  purchased  by  the  government,  and  cast  in  bronze,  was  placed 
in  the  garden  of  the  Tuileries.  The  "  Neapolitan  Fisher  "  (1863)  was 
purchased  by  Baron  Rothschild  ;  and  "  La  jeune  fille  a  la  coquille  " 
(1864),  by  the  Due  de  Mouchy.  Among  his  smaller  works  may  be  men- 
tioned, "  Hope,"  "  Abundance,"  "  Springtime,"  and  the  "  Mater  Dolo- 
rosa." He  excelled  in  portrait  busts,  of  which  he  executed  a  large 
number.  In  1865  he  was  commissioned  to  decorate  the  Pavilion  of 
Flora  in  the  Louvre  ;  he  there  executed  one  of  his  larger  works, 
called  "  Imperial  France  bringing  Light  to  the  World,  and  protecting 
Agriculture  and  Science."  In  1869  his  group  of  "  Dancers  "  was  placed 
on  the  facade  of  the  New  Opera  at  Paris,  and  excited  much  hot  dis- 
cussion for  and  against  its  merits.  In  the  night  of  August  27  the 
work  was  disfigured  by  having  a  corrosive  ink  thrown  over  it.  The 
spots  were  removed,  and  it  has  since  remained  unharmed.  The  last 
great  work  of  Carpeaux  was  for  the  fountain  of  the  Observatory  at 
the  Luxembourg.  The  group  is  called  "  The  Four  Quarters  of  the 
World  supporting  the  Globe."  Four  women — a  Chinese,  an  African,  a 
European,  and  a  Peruvian  —  hold  up  a  globe  on  which  the  signs  of  the 
zodiac  are  carved  in  bas-relief.  The  plaster  model  for  this  group 
was  exhibited  in  1872,  and  before  the  work  was  finished  the  health 
of  the  artist  was  much  impaired,  and  he  slowly  and  surely  faded 
away.  He  had  little  money  and  no  hope  ;  he  wished  much  to  go  to 
Italy,  but  could  see  no  possibility  of  it,  when  the  Prince  Stirbey,  who 
had  purchased  Carpeaux's  "  Wounded  Love,"  placed  at  the  disposal 
of  the  sculptor  a  villa  at  Nice.  Here,  with  every  luxury  and  comfort, 
he  passed  several  months  in  the  winter  and  spring  of  1875,  and  only 
returned  to  Paris  when  it  was  plainly  to  be  seen  that  his  end  was 
approaching.  While  at  Nice  he  sketched  continually,  and  mourned 
the  fact  that  his  work  was  done.  He  seemed  to  be  filled  with  new 
and  purer  inspirations,  and  regretted  that  his  subjects  had  not  been 


120     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  a  higher  type  ;  grand  ambitions  possessed  him,  and,  as  Mantz  sug- 
gests in  his  account  of  Carpeaux,  "  He  who  had  made  his  prose  so 
valiant  and  pronounced  had,  perhaps,  at  the  bottom  of  his  heart  a 
poem  that  he  had  never  written." 

"  Carpeaux  is  one  of  our  roost  learned  sculptors  ;  there  are  few  hands  more  sure  than 
his.  To  his  merits  of  execution  he  joins  a  bold  imagination  which  (let  it  be  said  with- 
out offence)  resembles  genius.  His  group  of  Ugolino,  exhibited  last  year,  will  bring  him 
the  best  honors  of  our  time  :  it  will  be  admired  a  long,  long  time.  But  it  is  not  neces- 
sary that  an  artist  of  the  first  order  should  make  his  debut  with  a  cannon-shot  and 
follow  it  with  Roman  candles.  '  La  jeune  fille  a  la  coquille '  is  an  unhappy  effort.  She 
is  a  pensionnaire  at  an  ungrateful  age,  lean,  dry,  and  mannered  ;  a  poor  little  worm  who 

twists  herself  painfully  It  is  not  less  true  that  Carpeaux  is  an  artist  of  the  first 

order.  One  does  not  always  make  chefs-d'oeuvre :  if  we  never  were  mistaken,  we  should 
needs  exchange  our  hats  for  aureoles  ;  we  should  be  gods."  —  Edmond  About,  Salon  of 
1864. 

"  Carpeaux  has  an  ideal,  which  is  life  in  sculpture,  and  a  defect,  which  is  a  fever. 
Under  the  pretext  of  animating  the  bronze  or  marble,  he  tortures  it  and  makes  it  un- 
natural. He  takes  frenzy  for  movement,  and  a  shriek  for  a  sigh.  Pupil  of  Rude,  he 
has  exaggerated  the  manly  independence  of  his  master,  and,  having  a  talent  of  singular 
power,  his  works  often  border  upon  hopeless  vulgarity.  Carpeaux  has  long  since  broken 
with  all  classic  conventionality.  It  has  seemed  established  and  accepted,  for  a  long 
time,  that  sculpture  was,  above  all,  suited  to  the  representation  of  majestic  immobility, 
the  noble  and  harmonious  movements  of  the  human  body.  On  the  contrary,  Carpeaux 
has  resolved  to  express  in  sculpture  passion  and  movement ;  but,  instead  of  stopping  at 
what  might  be  called  a  romantic  manner,  he  has  pushed  on,  with  singular  boldness  and 
a  sureness  of  handling  frequently  admirable,  to  absolute  realism.  He  has  followed, 
without  criticising  them,  the  suggestions  of  his  temperament.  Therefore  it  is  necessary 
to  do  Carpeaux  the  justice  to  say  that  he  is  not  what  he  is  from  theory,  capacity,  or  in- 
tention, but  by  nature,  simply  and  entirely.  ....  It  is  his  nature,  his  manner  of  con- 
ceiving expression  and  life,  which  forces  him  to  this  exaggeration  of  movement."  — 
Jules  Claretie,  L'Art  Frangais  en  1872. 

Carpenter,  Francis  Bicknell,  A.  N.  A.  (Am.)  Born  in  Ho- 
mer, N.  Y.,  1830.  Displaying  a  taste  for  drawing  at  an  early  age, 
he  became  a  pupil  of  Sandford  Thayer,  at  Syracuse,  in  1844,  remain- 
ing in  his  studio  six  months,  and  receiving  no  other  instruction  in 
art.  After  painting  portraits  for  a  few  years  in  Homer,  he  settled  in 
New  York  City  in  1851,  spending  the  rest  of  his  professional  life 
there.  In  1852  he  was  elected  Associate  of  the  National  Academy, 
and  was  at  that  time  the  youngest  member  of  the  society.  Among 
Carpenter's  portraits  are  (full-length),  Abraham  Lincoln,  in  the  Capi- 
tol at  Albany,  painted  in  1874  ;  President  Fillmore  and  Gov.  Myron 
H.  Clarke,  in  City  Hall,  New  York  ;  Horace  Greeley,  belonging  to 
the  Tribune  Association  ;  David  Leavitt,  in  American  Exchange 
Bank,  New  York  (painted  in  1852)  ;  Asa  Packer,  in  the  Lehigh 
University,  Bethlehem,  Pa. ;  and  three-quarter  lengths  and  heads  of 
Lieut.-Gov.  Woodford,  in  the  Senate-Chamber,  Albany  ;  Ezra  Cornell, 
George  William  Curtis,  James  Russell  Lowell,  and  Goldwin  Smith, 
for  Cornell  University  ;  Alice  Carey,  Horace  Greeley,  and  President 
Barnard  of  Columbia  College,  for  A.  J.  Johnson  of  New  York  ;  Henry 
S.  Randall,  Presidents  Tyler  and  Pierce,  William  L.  Marcy,  Lewis 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  121 


Cass,  William  H.  Seward,  S.  P.  Chase,  Charles  Sumner,  Caleb  Cushing, 
E.  M.  Stanton,  Montgomery  Blair,  Gideon  Welles,  Edward  Bates, 
Rev.  Dr.  Chapin,  Dr.  Storrs,  Dr.  S.  H.  Cox,  Dr.  Lyman  Beecher 
(presented  by  Henry  Ward  Beecher  to  Lane  Seminary,  Cincinnati, 
Ohio) ;  Dr.  Leonard  Bacon  of  New  Haven,  Dr.  Bushnell  of  Hartford, 
Professor  Gibbs,  for  Yale  College ;  Professor  Aiken,  for  Dartmouth  ; 
President  Cottell  of  Lafayette  College,  Eaton,  Pa.;  Henry  Ward 
Beecher  (painted  in  1858),  belonging  to  F.  D.  Moulton  ;  Schuyler 
Colfax,  John  C.  Fremont,  Fitz-Hugh  Ludlow,  and  Emma  Abbott. 
His  most  important  work  was  "  The  Emancipation  Proclamation," 
which  was  exhibited  in  1864  and  '65  through  the  principal  cities  of 
the  Northern  States,  attracting  much  attention.  It  was  purchased, 
for  $  25,000,  by  Miss  Elizabeth  Thompson,  and  presented  to  Congress 
in  1877.  It  now  hangs  in  the  east  wing  of  the  House  of  Representa- 
tives.  It  has  been  engraved  by  Ritchie.  Mr.  Carpenter  is  the 
author  of  a  book  entitled  "  Six  Months  in  the  White  House  with 
Abraham  Lincoln." 

"  'The  Emancipation  Proclamation'  is  a  conscientious  work,  executed  with  patient 
study.  We  could  wish  that  more  grace  and  vitality  inspired  the  scene,  and  can  imag- 
ine that  in  the  hands  of  a  more  ideal  artist  higher  and  more  magnetic  effect  would  have 

been  given,  but  the  intrinsic  value  of  the  work  is  none  the  less  apparent  The 

likenesses  in  the  picture  are  excellent,  the  attitudes  are  characteristic,  the  groupings 
well  managed  ;  the  scene,  in  a  word,  is  truly  represented. "  —  Tuckekman's  Book  of  the 
Artists. 

Carpenter,  Margaret.  (Brit.)  (1793-1872.)  She  was  a  daugh- 
ter of  Geddes  the  artist,  and  married,  in  1817,  William  Carpenter,  who 
was  keeper  of  the  Print-Room  of  the  British  Museum  for  many  years. 
She  devoted  herself  chiefly  to  portrait-painting,  numbering  among 
her  sitters,  John  Gibson,  Lord  John  Manners,  and  other  distinguished 
people.  She  exhibited  frequently  at  the  Royal  Academy  until  1864, 
after  which  she  gradually  retired  from  active  professional  work. 

Carpenter,  Miss  E.  M.  (Am.)  Born  in  Killingly,  Ct.,  1831. 
She  studied  art  with  Thomas  Edwards,  an  English  artist,  and  in  the 
Lowell  Institute  in  Boston,  where  she  has  lived  since  1858.  She 
went  to  Europe  in  1867,  and  again  in  1873,  studying  the  masters  and 
sketching  from  nature  in  Great  Britain  and  on  the  Continent.  Among 
her  best  pictures  are,  "  The  Temple  of  Psestum "  (24  by  46),  "  A 
View  from  Mariposa  Trail  of  the  Yosemite  Valley"  (40  by  56), 
"  Mt.  Blanc  from  Chamounix,"  "  A  View  on  the  Grand  Canal, 
Venice,"  "  Pleasant  Valley,  on  the  Merrimack,"  and  "  Lake  Attitash  in 
Amesbury."  The  last  was  painted  at  the  suggestion  of  John  G. 
Whittier,  who  owns  the  original  sketch.  Miss  Carpenter  is  a  well- 
known  teacher  of  art  in  Boston. 

Carrier,  Joseph- Auguste.  (Fr.)  Born  at  Paris  (1800-1875). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gros,  Prud'hon,  and 
the  Chevalier  Saint.  His  portraits  and  miniatures  are  good.  Among 
his  works  are,  "  View  at  Mallere,  near  the  Lake  of  Grand-bien  in 
6 


122     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Brittany,"  "  A  Woody  Koad,  from  Jouarre  to  Ferte,"  "  Entrance  of  a 
Road  in  the  Forest  of  Compiegne,"  "  View  in  the  Forest  of  Com- 
piegne," "  A  Farm  near  Nantes,"  etc. 

Carrier-Belleuse,  Albert  Ernest.  (Fr.)  Born  at  Anizy-le-Cha- 
teau.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  David  d' Angers. 
In  1877  he  exhibited  at  the  Paris  Salon,  a  portrait  bust,  in  terra-cotta, 
of  F.  Cormon,  painter  ;  in  1875,  two  statues  of  angels  for  a  monu- 
ment in  Chili,  and  a  bust  in  plaster  of  a  "  Grand  Roman  Lady  "  ;  in 
1874,  a  plaster  bust  of  "  Mile.  Oroizette"  ;  in  1873,  two  portrait  busts 
(ladies) ;  in  1872,  portrait  bust  of  M.  Thiers,  and  a  statue  of  "  The 
Deserted  Psyche,"  etc.  Of  the  latter  Jules  Claretie  in  his  "  Peintres 
et  Sculpteurs  "  says  :  "  This  figure  is  coquettish  and  charming,  a 
little  worldly,  perhaps,  but  it  does  great  honor  to  the  man  of  taste 
who  has  composed  it."  His  "  Sleeping  Hebe,"  of  the  Salon  of  1869, 
is  in  the  Luxembourg.  At  the  Salon  of  1878  he  exhibited  "  Moliere" 
(a  plaster  model)  and  a  bust,  in  terra-cotta,  of  Monsieur  Mathieu,  a 
member  of  the  Institute. 

Carter,  D.  M.  (Am.)  Born  in  Ireland,  1827,  but  taken  by  his 
family  to  the  United  States  in  1839.  As  an  artist  he  was  compara- 
tively self-taught,  beginning  his  professional  career  as  a  traveling  por- 
trait-painter, visiting  a  large  portion  of  the  country,  and  working 
constantly  from  life.  He  settled  in  New  York  some  years  ago,  and 
was  one  of  the  original  members  of  the  Artists'  Fund  Society  in  1859. 
In  1850  or  '51  he  painted  a  series  of  pictures  illustrative  of  Gold- 
smith's "  Deserted  Village,"  one  of  which,  "  The  Parting  Day,"  was 
purchased  by  Mrs.  Lorillard  Spencer.  "  The  Village  Schoolmaster" 
belonged  to  William  and  John  O'Brien,  and  two  others  to  Nelson 
Robinson.  Among  his  historical  pictures  are,  "The  Battle  of 
Bunker  Hill"  (at  the  National  Academy  in  1857),  "Decatur's  Attack 
on  Tripoli,"  purchased  by  Morris  Ketchum,  and  "  Moll  Pitcher  at 
the  Battle  of  Monmouth,"  now  in  St.  Louis.  He  painted  also,  "  A 
Legend  of  St.  Michael,"  "  The  Death  of  the  Virgin,"  and  portraits 
(from  life)  of  Henry  Clay,  Andrew  Jackson,  James  K.  Polk,  and 
many  other  distinguished  men.   [Died,  1881.] 

Carteron,  Eugene.  (Fr.)  Born  at  Paris.  Medal  of  the  third 
class,  at  the  Salon  of  1878,  where  he  exhibited  "  The  Prodigal  Son." 
Pupil  of  A.  and  L.  Glaize.  At  the  Salon  of  1877  he  exhibited 
"Lazarus"  and  a  portrait. 

Casilear,  John  W.,  N.  A.  (Am.)  A  native  of  New  York.  At 
the  age  of  fifteen  he  began  the  study  of  engraving  under  Peter  Mav- 
erick, at  whose  death,  in  1831,  he  became  a  bank-note  engraver.  In 
1840  Casilear  went  to  Europe  to  study,  turning  his  attention  to  paint- 
ing in  oils.  He  opened  a  studio  in  New  York  in  1854,  going  abroad 
a  second  time  in  1857.  He  was  elected  an  Associate  of  the  National 
Academy  in  1835,  and  Academician  in  1851.  Among  his  earlier 
works  are,  "Riverside,"  "Moonlight  at  the  Glen,"  and  "Niagara 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  123 


Falls."  In  1868  he  sent  to  the  National  Academy  "A  Swiss  Lake  " 
(belonging  to  R.  M.  Olyphant)  ;  in  1871,  "  Genesee  Meadows  "  (be- 
longing to  Mrs.  Richard  Schell) ;  in  1874,  "  September  Afternoon  " 
and  "Lake  Geneva";  in  1875,  "Trout  Brook";  in  1876,  "  Ulls 
Water,  England"  and  "Autumn";  in  1877,  "Lake  Leman"  and 
"  A  Scene  in  New  Hampshire  "  ;  in  1878,  "  A  View  on  the  Shemung 
River."  His  "  Lake  Lucerne,"  belonging  to  John  Taylor  Johnston, 
was  sold  in  1876  for  $  1,000. 

"Casilear's  work  is  marked  by  a  peculiarly  silvery  tone  and  delicacy  of  expression, 
which  is  in  pleasant  accord  with  nature  in  repose  and  of  his  own  poetically  inclined 

feelings  His  pictures  when  sent  from  the  easel  are  as  harmonious  as  a  poem, 

and  it  is  this  perfect  serenity  in  their  handling  which  is  so  attractive  to  connoisseurs." 

—  Art  Journal,  January,  1876. 

"  Casilear  excels  in  water  scenes  ;  his  foregrounds  are  often  beautifully  elaborate  ;  a 
pure  light  and  neat  outline  and  distinct  grace  or  grandeur  mark  the  works  of  this  faith- 
ful, accomplished  artist."  —  Tuckebman's  Book  of  the  Artists. 

1 '  The  small  summer  landscape  of.  Casilear,  with  its  peaceful  stream  in  a  lush  meadow 
under  the  golden  radiance  of  a  late  afternoon,  is  interesting  for  its  admirably  appre- 
hended and  managed  atmospheric  effects.  It  is  a  very  happy  piece  of  composition  also. " 

—  New  York  Evening  Post,  January  11,  1878. 

Cass,  George  N.  (Am.)  For  many  years  a  resident  of  Boston. 
He  studied  with  Inness,  and  paints  landscapes  in  oil  and  water.  He 
exhibits  at  the  Boston  Art  Club  and  elsewhere.  His  pictures  are 
generally  owned  in  New  England,  where  they  are  popular.  His  largest 
and  most  important  works  are,  "  Evening  on  the  Kennebeck  River, 
near  Norridgewock,  Me.,"  belonging  to  J.  G.  Abbott  ;  and  "  A  View 
in  Med  way,  Mass.,"  belonging  to  L.  A.  Elliott,  at  the  Mechanics'  Fair, 
Boston,  in  1878.    [Died,  1882.] 

Mrs.  George  N„  Cass  teaches  drawing  and  painting  in  Boston, 
where  her  pictures,  fruit,  flowers,  and  still-life,  in  oil,  are  exhibited. 

Cassagne,  Armand  Theophile.  (Fr.)  Born  at  Landin.  At 
Philadelphia  he  exhibited  "  The  Cross-Road  in  the  Forest "  and 
"Through  the  Rocks"  (oil),  and  "A  Forest  View"  (water-color), 
receiving  a  medal ;  at  the  Paris  Salon,  in  1877,  "  A  View  of  Fon- 
tainebleau." 

Cassatt,  Mary.  {Am.)  Born  in  Pennsylvania.  She  has  lived 
for  some  years  in  Paris,  where  she  has  studied  under  Soyer  and  C. 
Bellay.  To  the  Salon  of  1874  she  sent  "  Ida  "  ;  in  other  years,  several 
portraits.  She  exhibited  at  the  National  Academy,  New  York,  in 
1878,  a  portrait.  She  has  also  studied  and  sketched  in  Spain,  and 
some  of  her  later  works  are  of  Spanish  subjects.  At  the  Mechanics' 
Fair  in  Boston,  1878,  were,  "At  the  French  Theater,"  "After  the  Bull- 
Fight,"  and  "  The  Music-Lesson." 

Cassie,  James.  {Brit.)  Born  in  Aberdeen,  Scotland,  he  was  com- 
paratively self-taught  as  an  artist,  and  has  spent  the  greater  part  of  his 
professional  life  in  Edinburgh.  His  specialty  is  marine  views, — gen- 
erally quiet,  calm  effects  of  moonlight  or  sunset.    He  is  an  Associate 


124     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  Royal  Scottish  Academy,  exhibiting  in  its  gallery,  and  at  the 
Royal  Academy  in  London.  Among  his  later  works  may  be  men- 
tioned, "  A  Summer  Afternoon,  Firth  of  Forth "  ;  "A  Highland 
Goatherd,"  "  Chalk  Cliffs,  Coast  of  Sussex,"  "  Ben  Lomond  from 
the  Head  of  the  Loch,"  "  The  Fisherman's  Haven,  Firth  of  Tay," 
"  Holy  Island  Castle,  Northumbrian  Coast,"  "  Early  Morning,  South 
Queensferry,"  etc.    [Died,  1879,  aged  61.] 

Cassioli,  Amos.  (Ital.)  Born  at  Siena,  1838.  Professor  in  the 
Academy  of  Fine  Arts  in  Florence,  and  Honorary  Member  of  that  of 
Siena.  Pupil  of  Prof.  Luigi  Mussini.  His  correctness  in  drawing 
was  remarkable,  and  in  1863  he  received  the  first  prize  of  the  Tuscan 
government.  His  picture  of  "  Lorenzo  de  Medici  showing  his  Jewels 
to  Ludovico  Sforza,"  now  in  the  collection  of  Count  Saraceni  in 
Siena,  first  called  public  attention  to  him,  and  immediately  gave  him 
a  high  rank  as  an  artist.  His  other  principal  works  are,  "  The  Battle 
of  Legnano,"  a  large  work,  with  many  figures  (now  in  the  Gallery 
of  Modern  Paintings  at  Florence),  and  "  Provenzano  Solvani  receiving 
offerings  from  the  Citizens  for  redeeming  a  Prisoner  from  Charles  I. 
of  Puglia  "  (in  the  Palazzo  Publico  at  Siena).  "  Bianca  Cappello  " 
and  "  The  Studio  of  Leonardo  da  Vinci  "  are  also  pictures  worthy  of 
his  reputation. 

Castellano,  Manuel.  (Span.)  Medal  at  Philadelphia,  where  he 
exhibited  "  Death  of  the  Count  Villamediana,"  belonging  to  the 
Museum  of  Fine  Arts  at  Madrid. 

Castiglione,  Giuseppe.  (Ital.)  Born  at  Naples.  Medal  at  Phila- 
delphia, where  he  exhibited  "  The  Warrants "  and  "  Visiting  the 
Cardinal  Uncle."  At  Paris,  in  1877,  was  "  The  Terrace  of  the  Palace 
Royal  at  Naples  "  and  "  A  Duel  without  Witnesses";  in  1878,  "  Por- 
trait of  Pandolfini  of  the  Theatre  des  Italiens  "  and  the  "  Lesson  to 
the  Paroquet."  At  the  Paris  Exposition,  in  1878,  he  exhibited  "  A 
View  of  Haddon  Hall,  England,  invaded  by  the  Soldiers  of  Crom- 
well "  and  "  Visiting  the  Cardinal  Uncle." 

Castres,  Edouard.  (Swiss.)  Born  at  Geneva.  Medals  at  Paris 
in  1872  and  '74.  Pupil  of  Zamacois  and  Menn.  In  1877  he  ex- 
hibited at  Paris,  "  Gypsies  crossing  the  Simplon  "  and  "  A  Game  of 
Quoits  on  the  Terrace  of  a  Convent "  ;  in  1876,  "  The  Gratuitous 
Consultation  "  and  "  A  Caravan  near  Cairo  "  ;  in  1875,  "  Cairo," 
"  The  Return  from  Market,"  and  11  Le  frere  queteur  "  (or  the  Men- 
dicant Friar).  At  the  Johnston  sale,  New  York,  1876,  the  "  Japanese 
Bazaar  "  (25  by  36)  sold  for  $  1,675.  At  the  Salon  of  1878  he  exhib- 
ited "  A  Relay  at  the  Hospice  of  the  Simplon  "  and  a  "  Japanese 
Woman  at  the  Bath." 

Catel,  Franz  Louis.  (Ger.)  Born  at  Berlin  (1778  - 1856).  Mem- 
ber and  Professor  of  the  Berlin  Academy.  Studied  by  himself,  and 
had  such  natural  gifts  that  his  industry  and  love  of  art  enabled  him 
to  arrive  at  a  good  degree  of  skill  in  composition  and  execution.  At 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  125 


the  National  Gallery  at  Berlin  are  his  "  Neapolitan  Wagon  with  a 
Nun  and  a  Priest,"  "  Bay  of  Naples,"  and  the  "  Roman  Festival." 

Catlin,  George.  (Am.)  Born  in  Pennsylvania  (1796  -  1872).  He 
studied  and  practiced  law  in  Connecticut  for  a  few  years,  but  later 
turned  his  attention  to  drawing  in  Philadelphia,  painting  and  study- 
ing in  that  city  until  1832.  He  was  entirely  self-taught.  Going 
among  the  Indian  tribes  of  the  West  and  Southwest,  he  painted  a 
series  of  Indian  portraits,  quite  unique  in  their  way,  interesting  in 
themselves,  and  valuable  as  historical  records  of  the  appearances,  cus- 
toms, and  habits  of  the  fast  disappearing  aboriginal  people.  These 
have  been  exhibited  in  almost  every  city  of  the  United  States,  and 
were  taken  to  Europe,  where  they  attracted  much  attention,  and  were 
afterwards  for  a  long  time  at  the  Smithsonian  Institute  at  Washing- 
ton. Catlin  was  the  author  of  several  volumes  :  "  Letters  on  the 
Indian  Tribes,"  in  1841  (illustrated)  ;  "  Notes  of  Eight  Years'  Resi- 
dence and  Travel  in  Europe  "  ;  and  "  Life  Among  the  Indians,"  pub- 
lished in  1867.  One  hundred  and  twenty-six  of  his  drawings,  illus- 
trative of  Indian  life,  were  at  the  Philadelphia  Exposition  of  1876. 

"  Catlin's  gallery  of  aboriginal  portraits  was  a  popular  and  interesting  exhibition  both 
at  home  and  abroad,  and  some  of  the  practical  knowledge  he  obtained,  added  to  the 
legends  and  statistics  collected  by  Schoolcraft,  with  the  numerous  portraits  and  scenic 
views  published  by  them  and  other  native  explorers,  form  curious  historical  artistic 
data."  —  Tuckerman's  Book  of  the  Artists. 

Cattermole,  George.  (Brit.)  (1800  -  1868.)  Studied  architec- 
ture at  an  early  age,  and  furnished  illustrations  for  "  Cattermole's  His- 
torical Annual "  (the  text  being  written  by  his  brother),  for  Britton's 
"  English  Cathedrals,"  "  The  Waverley  Novels,"  etc.,  while  compara- 
tively a  youth.  About  1830  he  turned  his  attention  particularly  to 
water-color  drawing,  and  was  made  a  member  of  the  Old  Water-Color 
Society,  contributing  frequently  to  its  exhibitions  until  1846,  after 
which  he  devoted  himself  to  oil-painting,  executing  "  Macbeth,"  a 
picture  which  was  never  publicly  exhibited.  At  the  Paris  Exposition 
of  1855  he  received  one  of  the  two  first-class  medals  awarded  to  Eng- 
lish artists  (Landseer  receiving  the  other).  He  was  a  member  of  the 
Water-Color  Society  of  Brussels  and  of  the  Royal  Academy  of  Amster- 
dam. Among  his  pictures  in  water-colors  are,  "  Old  English  Hospi- 
tality "  ;  "After  the  Battle  of  Newbury  "  ;  "  The  Unwelcome  Return" ; 
"  Visit  to  the  Monastery "  ;  "  Sir  Walter  Raleigh  witnessing  the 
Execution  of  Essex  "  ;  and  cartoons  of  "  The  Raising  of  Lazarus,"  "  The 
Marriage  of  Cana,"  and  "  The  Last  Supper." 

"Another  painter  friend  was  George  Cattermole,  who  had  then  enough  and  to  spare 
of  fun  as  well  as  fancy  to  supply  a  dozen  artists,  and  wanted  only  a  little  more  ballast 
and  steadiness  to  have  had  all  that  could  give  attraction  to  good-fellowship. "  —  Forster's 
Life  of  Dickens,  Vol.  I.  p.  181. 

"  Cattermole's  place  among  English  artists  is  assuredly  in  the  highest  rank  of  water- 
color  painters  of  incident  and  manners  His  power  of  indicating  the  play  of  light 

and  gradations  of  relief  in  dresses,  plate,  arms  and  armor,  furniture  and  figures  }-as  well 


126     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


as  the  expressions  and  characters  of  faces  by  a  few  touches,  exactly  of  the  right  form  and 
in  the  right  place,  was  distinctive  of  this  painter,  and  has  never  probably  been  pos- 
sessed in  the  same  degree  by  any  other  English  artist."  —  Tom  Taylor,  in  Art  Journal, 
May,  1870. 

"There  are  signs  in  George  Cattermole's  works  of  very  peculiar  gifts  and  perhaps  also 
of  powerful  genius.  ....  The  antiquarian  feeling  of  Cattermole  is  pure,  earnest,  and  nat- 
ural ;  and  I  think  his  imagination  originally  vigorous ;  certainly  his  fancy,  his  grasp  of 
momentary  passion,  considerable  ;  his  sense  of  action  in  the  human  body  vivid  and 
ready. "  —  Ruskin's  Modern  Painters,  Vol.  I. 

Cattermole,  Charles.  {Brit.)  Nephew  of  George  Cattermole, 
resident  of  London,  and  for  some  years  a  member  of  the  Institute 
of  Painters  in  Water-Colors,  and  of  the  Society  of  British  Artists. 
Among  his  works  in  oil  are,  "  A  Council  of  War,"  "  Attacking  the 
Baggage- Wagon,"  "  Disarmed,"  and,  in  1878,  "  A  Puritan  Preacher." 
To  the  Gallery  of  the  New  Water-Color  Society  he  has  contributed 
"  Beaten,"  "  The  Ford,"  "  A  Wounded.  Comrade,"  "  Returning  from 
a  Border  Raid,"  etc. 

Cavelier,  Jules  Pierre.  {Fr.)  Born  at  Paris,  1814.  Member  of 
the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of  David  d' An- 
gers and  Paul  Delaroche.  He  gained  the  grand  prix  de  Rome  in 
1842.  In  1849  he  sent  to  the  Salon  his  "  Sleeping  Penelope,"  pur- 
chased by  the  Due  de  Luynes  for  his  chateau  of  Dampierre,  for  10,000 
francs.  In  1853  he  exhibited  his  statue  of  "Truth,"  which,  with  a 
bust  of  a  woman,  in  marble,  and  the  "  Mother  of  the  Gracchi,"  are  in 
the  Luxembourg.  Cavelier  has  executed  several  works  for  public 
edifices,  such  as,  two  statues  of  the  Seine  and  the  Rhine  which  sur- 
mounted the  clock  of  the  Hotel  de  Ville  at  Paris,  "  Fame  recompensing 
the  Arts  "  on  the  front  of  the  Gallery  of  Apollo,  statue  of  St.  Matthew 
for  the  principal  doorway  of  the  cathedral  of  Notre-Dame  at  Paris, 
statue  of  Monseigneur  Affre  for  the  court  of  the  new  sacristy  of  the 
same  cathedral,  a  group  of  Caryatides  for  the  central  pavilion  of  the 
new  Louvre.  He  has  made  several  portrait  busts  for  public  places,  and 
was  charged  with  a  part  of  the  decoration  of  the  new  church  of  St. 
Augustin  at  Paris.  The  father  of  this  artist  was  a  designer  of  bronzes^ 
gold- work,  and  furniture.  The  son  sometimes  made  models  for  fine 
jewelry  and  gold- work  which  were  very  elegant,  among  others,  that  of 
the  handle  of  a  sword  presented  to  General  Cavaignac,  which  was 
executed  by  Froment  Meurice. 

Cazes,  Romain.  (Fr.)  Born  at  Saint-Beat.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Ingres.  At  the  Salon  of  1877  he  ex- 
hibited "The  Theological  Virtues";  in  1870,  "The  Mission  of  the 
Apostles  "  ;  in  1878,  "  Sappho  "  and  a  portrait.    [1810  -  1881 .] 

Celebrano,  Francesco.  (Ital.)  (1789-1814.)  This  illustrious 
artist  was  director  of  the  sculptors  and  painters  of  the  famous  porce- 
lain manufactoiy  of  Capodimonte,  master  of  drawing  of  the  military 
engineers,  master  of  drawing  to  the  Royal  Family,  and  Court  Painter. 
Pupil  of  Solimene.    His  mausoleum  of  the  Prince  of  St.  Severo  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  127 


the  sumptuous  chapel  of  St.  Severo  is  one  of  the  finest  works  of  art  in 
Naples.  He  also  made  some  good  pictures  ;  and  several  fine  vases  with 
figures  in  relief  were  modeled  by  him,  and  sent  as  presents  from  the 
court  of  Naples  to  the  court  of  Spain. 

Cermak,  Jaroslav.  {Bohemian.)  Born  at  Prague.  Pupil  of  Gallait 
and  of  Kobert-Fleury.  Chevalier  of  the  Legion  of  Honor.  His  sub- 
jects are  historical,  and  he  is  a  great  artist.  At  the  Salon  of  1877  he 
exhibited  "  Some  Herzogovinians  returning  to  their  Village  and  finding 
it  ravaged  by  Bachi-Bouzoucks,  the  Cemetery  desecrated,  and  the 
Church  destroyed";  in  1876,  "An  Episode  of  the  Siege  of  Naum- 
bourg";  in  1873,  "An  Episode  of  the  War  in  Montenegro,  1862,"  and 
"  Hunting  and  Fishing,  —  Souvenirs  of  Roscoff."  (This  painter  merits 
a  more  extended  notice,  but  no  more  reliable  information  could  be 
obtained.)  At  the  Paris  Exposition  of  1878  he  exhibited  "A  Mon- 
tenegrin Wounded  "  and  "  The  Return  to  the  Country."  Died,  1878. 

Chabal-Dussurgey,  Pierre- Adrien.  (Fr.)  Born  at  Charlieu, 
about  1815.  Chevalier  of  the  Legion  of  Honor.  Studied  in  l'Ecole  of 
Lyons.  Came  to  Paris  in  1840,  and  soon  made  his  debut  at  the  Salon, 
In  1850  he  was  attached  to  the  Gobelins  Manufactory.  His  principal 
works  are  water-colors  of  flowers  and  fruits.  At  the  Salon  of  1878  he 
exhibited  "  Concordia." 

Chalmers,  G-.  Paul.  (Brit.)  Born  at  Montrose  (1836-1878). 
Displayed  artistic  talents  as  a  lad,  but  was  comparatively  self-edu- 
cated in  the  profession,  his  first  exhibited  picture  being  a  boy's  head 
in  chalk.  This  was  followed  by  small  figure-pieces  in  oil,  "  The 
Student,"  "  The  Smoker,"  etc.  ;  many  of  which  were  purchased  by  the 
Royal  Association.  He  made  sketching-tours  in  Brittany  and  the 
Northern  Hebrides  ;  painting  but  few  landscapes,  however,  until 
within  a  few  years  of  his  death.  He  was  elected  an  Associate  of  the 
Royal  Scottish  Academy  in  1867,  and  Academician  in  1871,  very 
few  of  his  works  appearing  publicly  outside  of  Scotland.  The  better 
known  of  them  are,  «  The  End  of  the  Harvest  "  (R.  S.  A.,  1873)  ; 
"  Running  Water  "  (1875)  ;  "  Threescore  Years  and  Ten,"  sent  to  the 
Royal  Academy,  London,  in  1875  ;  in  1876,  "  Prayer"  and  "Knitting." 
His  portraits  were  very  successful. 

"  Besides  the  portrait  of  a  venerable  divine,  painted  with  rare  breadth  of  hand  and 
purity  of  color,  we  are  much  pleased  with  Chalmers'  'End  of  the  Harvest.'  The  last 
stacks  of  the  yellow  corn  ranged  in  the  foreground,  with  the  belt  of  woodland  beyond, 
the  rooks  swaying  and  swinging  on  their  homeward  way,  and  the  sweet  fading  light  of 
the  horizon,  are  all  rendered  with  perfect  harmony  of  tone."  —  Art  Journal,  April,  1873. 

Chalon,  John  James,  R.  A.  (Brit.)  Born  in  Geneva,  Switzer- 
land (1778-1854).  Brother  of  A.  E.  Chalon,  R.  A.  Spent  the 
greater  part  of  his  professional  life  in  England,  being  educated  at  the 
schools  of  the  Royal  Academy  with  his  brother,  deA^oting  himself  to 
landscape  and  genre  painting  in  oil.  Elected  Associate  of  the  Royal 
Academy  in  1828,  and  Academician  in  1842.  His  "  Hastings  Fish- 
ing-Boats "  and  "  Village  Gossips  "  are  in  the  Sheepshanks  Collection. 


128     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Chalon,  Alfred  Edward,  E.  A.  (Brit.)  Born  in  Geneva,  Switz- 
erland (1781  -  1860).  Taken  to  England  by  his  family  in  his  youth, 
and  placed  in  the  schools  of  the  Royal  Academy  at  the  age  of 
sixteen,  he  devoted  himself  to  portrait-painting  in  water-colors  for 
many  years,  turning  his  attention  somewhat  late  in  life  to  oils.  He 
painted  occasional  figure-pieces,-  generally  of  a  historical  character. 
He  exhibited  frequently  at  the  Royal  Academy,  of  which  he  was 
elected  Associate  in  1812  and  Academician  in  1816.  He  was  also 
Painter  in  Water-Colors  to  the  Queen. 

Champney,  J.  Wells,  A.  N.  A.  ("  Champ").  (Am.)  Born  in  Bos- 
ton, 1843.  As  a  youth  he  studied  in  the  Lowell  Institute,  Boston, 
entering  the  shop  of  a  wood-engraver  there  at  the  age  of  sixteen.  In 
1863  he  served  in  the  45th  Volunteer  Regiment  of  Massachusetts,  and 
later  taught  drawing  in  the  school  of  Dr.  Dio  Lewis  at  Lexington, 
Mass.,  for  two  years.  He  went  to  Europe  in  1866,  studying  in  Paris, 
and  spending  the  summer  of  1867  in  Ecouen  as  a  pupil  of  Edouard 
Frere.  He  was  at  the  Academy  at  Antwerp  in  1868,  but  returned  to 
Paris,  and  again  worked  under  Frere  in  1869,  painting  his  first  genre 
picture,  which  was  purchased  by  Goupil  &  Co.  He  passed  the  win- 
ter of  1869  and  '70  in  Rome,  returning  to  America  and  sketching  in 
Nova  Scotia  the  following  summer.  He  opened  a  studio  in  Boston, 
but  went  to  Europe  for  a  few  months  in  the  spring  of  1871  and  '72. 
In  1873  he  traveled  with  Edward  King  in  the  different  Southern 
States  of  America,  making  sketches  illustrative  of  King's  work,  pub- 
lished by  the  Scribners,  and  entitled  "  The  Great  South."  He  went 
again  to  Europe  in  1874,  and  in  May,  1875,  he  visited  the  Basque 
Provinces  of  Northern  Spain,  during  the  Carlist  Rebellion.  Commis- 
sioned by  the  editors  of  the  French  journal "  L'lllustration  "  to  furnish 
figure  drawings  of  American  life,  he  returned  to  America,  and  built 
a  studio  at  Deerfield,  Mass.,  in  1876,  where  he  still  resides  (1878). 
He  is  a  member  of  the  American  Society  of  Painters  in  Water-Colors, 
to  the  annual  exhibitions  of  which  he  is  a  frequent  contributor.  On 
account  of  the  number  of  artists  bearing  his  surname  in  Boston  he  has 
been  in  the  habit  of  signing  his  works  "  Champ,"  since  the  sale  of  the 
first  one  there  in  1869. 

Among  the  better  known  of  "  Champ's  "  works  are,  "  Not  so  Ugly 
as  he  Looks,"  at  the  Paris  Salon  of  1875  (now  owned  in  Boston)  ; 
"  Boy  shelling  Peas,"  painted  in  1869  (owned  by  W.  A.  Camp  of 
New  York)  ;  "  The  Best  Scholar  "  (exhibited  in  Chicago)  ;  "  Hearts 
and  Diamonds"  and  "Which  is  Umpire"  (in  the  possession  of 
Thomas  Wigglesworth  of  Boston)  ;  "  The  Sear  Leaf  "  ;  etc.  To  the 
Centennial  he  sent  "Grandma's  Pet"  and  "Your  Good  Health" 
(from  the  collection  of  Thomas  Wigglesworth) ;  "  Don't  Touch  !  " 
(belonging  to  Dwight  Cheney  of  Manchester,  Ct.)  ;  and  "  Speak, 
Sir  !"  (belonging  to  Mr.  DeWolf  of  Boston). 

Mrs.  Lizzie  W.  Champney,  his  wife,  is  the  author  of  several 
books  bearing  upon  art. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  129 


Chaplet,  Ernest.  (Fr.)  Born  at  Sevres,  1835.  This  artist,  who 
now  ranks  among  the  notable  men  of  his  age,  on  account  of  his  inven- 
tions or  discoveries  in  the  decoration  of  faience,  commenced  life  as  a 
decorator  of  china  in  an  atelier  in  Paris.  He  went  later  to  the  Sevres 
governmental  manufactory,  and  while  there,  commenced  the  experi- 
ments and  investigations  which  were  the  first  steps  towards  his  end. 
But  the  rules  of  that  establishment  hampered  him,  and  he  went  to  a 
manufactory  of  white  earthenware,  where  he  was  at  liberty  to  pursue 
his  experiments.  About  1873  he  discovered  the  mode  of  ceramic  deco- 
ration called  pate  sur  pate,  by  which  he  placed  himself  among  the 
most  original  ceramists  of  his  age.  M.  Bracquemond  had  followed  his 
course  with  great  interest,  and  brought  M.  Chaplet  and  his  inventions 
to  the  notice  of  the  Messrs.  Haviland  &  Co.,  who  at  once  bought  the 
right  to  employ  his  methods,  and  M.  Chaplet  went  to  their  atelier  at 
Auteuil,  where,  after  surmounting  many  obstacles,  his  beautiful  faience 
has  been  perfected,  as  the  exhibit  in  Paris  of  this  year  (1878)  has 
shown.  But  at  first  there  were  many  discouraging  experiences,  and 
the  criticisms  of  those  days  would  certainly  have  discouraged  men  of 
less  determination  than  Bracquemond,  Chaplet,  and  Charles  Edward 
Haviland.  Fine  specimens  of  this  faience  were  seen  at  Philadelphia 
in  1876.  Since  then  the  process  has  been  enlarged  and  perfected, 
until  to-day  the  Haviland  faience  is  considered  the  most  artistic  faience 
of  the  age,  because  its  palette  is  precisely  that  of  oil-painting,  and 
with  it  an  artist  can  produce  a  painting  equal  to  what  he  can  do  on 
canvas. 

Chaplin,  Charles.  (BY.)  Born  at  Andelys,  1825.  His  father  was 
an  Englishman  and  his  mother  French,  but  by  life,  love,  and  all  that 
makes  the  man,  he  is  French  and  French,  only.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  l'^cole  des  Beaux- Arts  and  of  Drolling. 
His  works  previous  to  1851  were  not  such  as  to  give  promise  of  his 
present  rank  as  a  painter.  In  1851  he  exhibited  a  portrait  of  his  sis- 
ter which  won  a  medal,  and  his  subjects  since  that  time  have  been  of 
a  different  order  from  the  earlier  ones.  Among  them  are  many  por- 
traits ;  also,  "  Soap-Bubbles  "  (at  the  Luxembourg),  "  Loto  "  (at  the 
Museum  of  Kouen),  "  A  Bather,"  "  A  Young  Girl  with  a  Collarette," 
"  The  Broken  Lyre,"  etc.  Chaplin  has  executed  many  decorative 
works,  such  as  a  ceiling  at  the  Hotel  Musard,  which  is  a  chef-d'oeuvre 
in  this  specialty.  His  decorations  are  also  in  the  Tuileries  and  at 
the  lilysee.  His  portraits  are  very  numerous  and  much  sought.  He 
has  a  large  number  of  pupils,  and  is  successful  as  an  instructor.  At 
the  Johnston  sale,  New  York,  1876,  "  Prayer  "  (6  by  4)  sold  for  $  390. 
At  the  Walters  Gallery,  Baltimore,  is  "  Girls  kneeling  at  a  Shrine." 
At  the  Salon  of  1878  Chaplin  exhibited  two  portraits  of  ladies. 

"Chaplin  is  a  man  of  alight  and  pleasing  talent.    The  eighteenth  century  has  be- 
queathed to  him  in  part  the  secret  of  its  easy  and  voluptuous  grace.    His  color  is  clear 
and  attractive,  as  he  uses  it  in  painting  boudoirs  and  pier-glasses.    He  lows  to  adorn 
6  I 


130     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


with  roses  the  bosom  of  a  young  girl,  —  to  fold  back,  on  a  white  shoulder,  a  fichu  coquet- 
tishly  torn,  —  to  dazzle  with  a  little  leg,  seen  under  a  skirt  a  little  retroussee.  These  are 
his  favorite  tricks,  and  he  succeeds  in  them  without  too  much  effort ;  it  is  another  thing 
when  he  undertakes  a  higher  sort  of  subject.  His  '  Haidee '  is  only  a  keepsake  figure,  — 
a  blonde  doll  dressed  in  gauze,  running  over  with  pearls.  She  is  an  Oriental  of  fantasy 
and  the  hot-house,  whose  fragile  and  vernal  freshness  has  never  felt  the  caresses  of 
the  midday  sun.  One  can  easily  see  that  she  is  of  the  same  race  as  this  lady  in  a  rose- 
colored  dress,  between  two  ages,  whom  the  painter  has  carefully  transformed  into  a 
young  girl  in  spite  of  her  gray  hair  and  faded  features,  wisely  dissimulating  by  means 
of  a  cottony  chiaroscuro  or  a  cloudy  white  light.  Who  dares  to  say  that  Chaplin  is 
wanting  in  the  ideal  ?  He  has,  on  the  contrary,  an  inexhaustible  provision  of  it,  at  the 
service  of  the  ripe  beauties  who  wish  to  rejuvenate  themselves  either  with  ash-colored 
hair  or  with  throats  of  lilies  and  roses."  —  Ernest  Duvergier  de  Hauranne,  Revue  des 
Deux  Mondes,  June,  1873. 

41  He  is  a  fine  officer  in  the  army  of  progress.  I  regretted,  some  days  since,  that  one 
could  not  yet  find  in  art  a  style  characteristic  of  our  epoch.  Perhaps  I  wronged  Chap- 
lin, who,  without  copying  Watteau  or  anybody  else,  without  recourse  to  the  types  or 
the  costumes  of  another  time,  has  positively  invented  a  genre  of  new,  elegant,  rich  deco- 
ration, in  harmony  with  the  luxury  and  comfort  of  modem  palaces.  Princes  have  chosen 
him  to  brighten  their  apartments,  and  they  have  employed  a  happy  hand.  This  fresh 
and  laughing  painting  is  truly  a  charm  to  the  eyes,  a  delight  to  the  mind.  The  darkest 
melancholy  is  soon  dissipated  in  the  midst  of  agreeable  objects,  which  suggest  no  pain- 
ful idea,  not  even  that  of  the  labor  they  have  cost  I  seek  to  make  yon  understand 

the  distinctive  beauty  and  merit  of  these  two  pictures.  My  brother  critics,  who  are  all 
more  competent  than  I,  would  place  in  relief  the  qualities  of  the  painting,  the  skill 
of  composition,  the  ineffable  charm  of  the  color.  They  would  tell  you  that '  La  fille  aux 
bulles  de  Savon  '  is  blonde,  in  a  corsage  of  rose,  and  a  skirt  of  white  satin  ;  the  transpar- 
ent sleeves  reveal  her  beautiful  arms  ;  the  gray  background,  a  hlue  vase,  a  wooden  spin- 
ning-wheel, are  in  delicious  harmony  with  the  white  and  rose.  All  the  freshest  tones  of 
the  palette  have  made  an  appointment  to  meet  in  this  picture.  The  other  one  is,  per- 
haps, more  rich,  —  the  '  Fille  aux  tourterelles  '  is  brunette,  and  the  tone  of  her  flesh  the 
most  dainty;  her  white  doves,  her  yellow  skirt,  the  flowers  and  green  leaves  which  make 
a  frame  around  her,  are  a  delicious  accompaniment  to  her  beauty.  But  all  this,  for  me, 
is  only  an  accessory.  The  principal  thing  is,  that  the  pictures  seem  to  have  made  them- 
selves, not  to  have  been  painted  with  a  brush,  with  oil  and  ground  colors.  One  would 
say  that  the  dream  of  a  happy  spirit  posed  itself  lightly  on  the  canvas,  like  a  bird  on  a 
tree  in  bloom."  —  Edmond  About,  Salon  o/1864. 

Chaplin,  Christine  (Mrs.  Brush).  (Am.)  Born  in  Bangor,  Me., 
1842.  Her  specialty  is  wild-flowers  in  water-colors.  She  spent  about 
a  year  in  Europe,  where  she  painted  with  Charles  Chaplin  and  Har- 
pignies  of  Paris  and  Bornford  of  London.  Her  home  has  been  in 
Boston  until  1878  ;  but  she  has  painted  from  nature  on  the  sea-shore, 
some  of  her  best  pictures  being  of  the  flowers  of  Osterville.  She  ex- 
hibits at  the  Water-Color  Society  of  New  York,  in  Brooklyn,  and  occa- 
sionally at  the  Boston  Art  Club.  Her  pictures  are  owned  by  Mrs. 
S.  F.  White  of  Brooklyn,  Jeremiah  Milbank  of  New  York,  Governor 
Claflin  of  Massachusetts,  Mrs.  Harrison  Maynard  of  Boston,  and  others. 
She  has  made  several  little  books,  in  which  she  has  illustrated,  in  water- 
colors,  verses  of  her  own.  These  are  very  dainty,  and  are  owned  by 
Mrs.  S.  D.  Warren,  Governor  Smith  of  Vermont,  etc.  Prang  has  re- 
produced, in  chromo,  several  of  her  pictures,  including  "  Petunias  " 
and  "  Nasturtiums." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  131 


"  Miss  Chaplin  of  Boston  is  among  the  first  numerically,  as  well  as  artistically,  in  the 
catalogue.  Her  two  narrow  upright  studies  of  field-flowers  are  very  favorably  hung  at 
the  head  of  the  main  stairway.  New  York  has  already  seen  some  of  her  work  at  Schaus', 
and  will  doubtless  call  for  more  as  it  becomes  better  known.  I  do  not  know  of  any  one 
who  draws  the  switchy  curves  of  grasses  and  the  intricate  tracery  of  stems  and  their  sub- 
divisions with  a  truer,  bolder  hand  than  she."  —  Old  and  New,  August,  1875. 

Chapman,  John  Gadsby,  N.  A.  (Am.)  Born  at  Alexandria,  Va., 
1808.  He  displayed  a  talent  for  art  at  an  early  age,  and  studied  for 
some  time  in  Italy.  Returning  to  America,  he  painted  in  New  York 
and  elsewhere  ;  was  one  of  the  founders  of  the  Century  Club,  and  was 
elected  a  full  member  of  the  Academy  of  Design  in  1836.  He  was 
interested  in  wood-engraving,  and  instructed  an  entire  generation  of 
young  artists  in  that  branch  of  his  profession  with  decided  success. 
He  went  again  to  Italy  in  1848,  settling  in  Rome,  where  he  has  since 
resided.  He  made  a  visit  to  America  in  1878.  Among  the  more 
important  of  his  works  are,  "  The  Baptism  of  Pocahontas  "  (in  the 
Rotunda  of  the  Capitol  at  Washington),  "  Sunset  on  the  Campagna," 
"  Etruscan  Girl,"  "  Vintage-Scene,"  "  Last  Arrow,"  "  Valley  of  Mex- 
ico," "  Stone  Pines  in  the  Barberini  Valley,"  etc.  He  has  furnished 
the  illustrations  for  many  books,  among  others,  Harper's  Bible,  and 
is  the  author  of  a  "  Drawing-Book,"  said  to  be  one  of  the  best  of  its 
kind  in  the  language,  which  has  passed  through  many  editions  both 
in  Great  Britain  and  in  the  United  States.  Among  his  etchings  from 
original  designs  are,  "  The  Return  from  the  Vintage,"  "  Piferari 
playing  before  a  Shrine  of  the  Virgin,"  "  A  Monk  asking  Alms," 
"  Italian  Goatherds,"  "  The  Gleaner,"  "  A  View  on  the  Campagna," 
"  A  View  in  the  Vicinity  of  Rome,"  "  The  Departure  of  Sancho  for 
the  Government  of  his  Island,"  "  Maswaddox  Creek,  Eastern  Shore, 
Maryland,"  etc. 

Chapu,  Henri-Michel-Antoine.  (Fr.)  Born  at  Nice.  Prix  de 
Rome,  1855.  Officer  of  the  Legion  of  Honor.  Medals  of  Honor  in 
1875  and  '77.  Pupil  of  Pradier,  Duret,  and  Cogniet.  His  "  Mercury 
inventing  the  Cadeuceus  "  (1863)  is  in  the  Luxembourg,  together  with 
"  Joan  of  Arc  at  Domremy  "  (1870).  At  the  Salon  of  1877  he  exhib- 
ited a  statue  of  "Thought"  and  one  of  Berry er,  —  the  last  for  the 
Palace  of  Justice  ;  in  1875,  a  statue  of  "  Youth  "  for  the  monument 
to  Regnault  and  other  artists  who  were  slain  during  the  war  ;  in 
1872,  "  Clytie  "  ;  and  in  1867,  "  The  Death  of  Clytie."  He  has  also  made 
and  exhibited  many  portraits,  in  statues,  busts,  and  medallions. 

"  The  Greeks,  who  have  remained  our  masters  in  sculpture  as  in  many  other  things, 
knew  that  the  light  is  one  of  the  conditions  of  the  art  of  the  statuary.  Examine  the 
mutilated  fragments  of  the  frontons  of  the  Parthenon,  the  bas-relief  of  the  Wingless 
Victory,  and  the  most  beautiful  antique  statues.  By  the  brilliant  light  shed  over  the 
parts  in  relief,  by  the  half-tints  attenuating  themselves  to  the  more  distant  parts,  by  the 
thickening  shades  on  the  less  prominent  portions,  and  in  the  folds  of  the  draperies,  cut 
out  even  to  the  depth  of  ten  centimeters,  the  Greek  master  added  a  new  relief  to  the 
relief  which  belongs  to  the  ronde-basse.  They  obtain  an  appearance  of  life  and  motion  ; 
they  push  to  the  last  degree  of  power  the  vital  animation  of  the  marble.   It  is,  above  all, 


132     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


on  account  of  the  masterly  distribution  of  the  light  that  the  statue  of  Chapu  merits  the 
highest  praise.  The  light  breaks  over  the  face,  runs  down  the  arms,  lights  up  the 
breast,  and  falls  in  a  powerful  jet  on  the  thigh,  which  it  reveals  beneath  the  drapery. 
The  shade  falls  under  the  chin,  and  to  the  left  throws  into  relief  all  the  outer  line  of 
the  figure,  giving  the  greatest  value  to.  the  lighted  parts.  But  that  which  the  Greeks 
(who  expressed  themselves  in  art  by  the  equilibrium  of  lines,  not  less  than  by  the  nor- 
mal movement  of  gesture  and  the  just  expression  of  action)  would  with  difficulty  par- 
don in  Chapu,  is  the  conception  of  the  work.  What !  is  this  statue  made  for  the  fu- 
neral monument  of  Daniel  Stern  ?  Is  it  Thought  which  this  draped  figure  represents, 
who,  fixing  an  inspired  look  towards  heaven,  raises  the  right  arm  above  the  head 
in  the  adorable  pose  of  a  Nereid  or  a' dancer  of  Herculaneum,  le  pan  de  son  hima- 
tion,  and  holds  in  the  left  hand,  pressed  down  along  the  thigh,  a  roll  of  papyrus  ?  It  is 
not  in  this  attitude  that  men,  gods,  or  symbolic  beings  meditate  ?  The  head  and  the 
lower  part  of  the  body  belong  to  Polymnia,  but  the  bust  and  arms  are  those  of  Terpsi- 
chore. The  decision  of  the  jury  which  has  given  to  Chapu  the  medal  of  honor  will, 
however,  be  approved.  The  '  Thought '  is  a  beautiful  statue  of  an  elegant  contour, 
learned  execution,  harmonious  arrangement,  and  exquisite  and  vigorous  modeling."  — 
Henky  Houssaye,  Revue  des  Deux  Mondes,  June,  1877. 

Chardin,  Faul-Louis-Leger.  (Fr.)  Born  at  Paris.  Pupil  of 
Dauzats  and  J.  Ouvrie.  His  "  Chapel  of  the  Fishermen,  near  Plouha, 
C6tes-du-Nord  "  (1874)  is  in  the  Luxembourg. 

Charnay,  Armand.  (Fr.)  Born  at  Charlieu.  Medal  in  1876. 
Pupil  of  Pils  and  Feyen-Perrin.  At  the  Salon  of  1877  he  exhibited 
"  The  Last  Fine  Days,  Park  of  Chateau  Morand  "  ;  in  1876,  "  Water- 
falls of  Lignon"  :  in  1875,  two  scenes  on  the  shore  at  Yport. 

Charretie,  Anna  Maria.  (Brit.)  (1819-1875.)  Exhibited  in 
the  Eoyal  Academy  as  an  amateur  in  1839,  and  for  some  years  later 
flower-pieces  and  miniatures.  Was  married  in  1841,  and  at  the  death 
of  her  husband  adopted  art  as  a  profession,  sending  portraits  and 
flowers  annually  to  the  Koyal  Academy  until  her  death.  In  1872 
her  "  Lady  Betty  Germain  "  was  greatly  admired  for  the  grace  of  the 
figure  and  the  high  finish  of  the  details.  In  1873  she  exhibited  "  Lady 
Betty's  Maid  "  and  "  Lady  Betty  Shopping."  Among  her  other  works 
were  "  Little  Trot,"  in  1866  ;  "  My  New  Toy,"  in  1867  ;  "A  Stone  in 
her  Shoe,"  in  1870  ;  "  Lady  Teazle  behind  the  Screen,"  in  1871  ;  and 
"  Mistress  of  Herself  tho'  China  fall,"  her  last  picture,  in  1875. 

Chartran,  Theobald.  (Fr.)  Born  at  Besancon.  Medal  in  1877c 
Pupil  of  Cabanel.  At  the  Paris  Salon  of  1877  he  exhibited  "  St.  Satur- 
nin,  Martyr,"  for  the  choir  of  the  church  of  Champigny-sur-Marne, 
and  "A  Martyr  in  the  Catacombs  at  Eome"  ;  in  1876,  "A  Young 
Girl  of  Argos  at  the  Tomb  of  Agamemnon  "  and  "  A  Gentleman  of  the 
Court  of  Henri  II."  ;  in  1875,  "  Angelica  and  Roger  "  and  a  portrait. 

Chase,  John.  (Brit.)  (1810  - 1879.)  A  pupil  of  John  Constable, 
devoting  himself  particularly  to  water-colors  and  to  architectural  in- 
teriors and  exteriors.  Has  been  for  some  years  a  member  of  the 
Institute  of  Painters  in  Water-Colors,  exhibiting  in  1872,  "Capulet's 
Balcony,  Verona"  and  "Lichfield,  Evening"  ;  in  1873,  "Studio  of 
Leonardo  da  Vinci  at  Fontainebleau,"  and  "  Heidelberg  from  the 
Terrace"  ;  in  1878,  "Lichfield  Cathedral  from  the  Minster  Pool," 
"  Porch  of  the  Cathedral  at  Chartres,  France,"  and  "  Ludlow  Castle." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  133 


Chase,  William  M.  {Am.)  Born  in  Franklin  Township,  Indi- 
ana, 1849.  He  began  his  art  studies  in  1868  under  B.  F.  Hayes,  a 
portrait-painter  in  Indianapolis.  In  1869  he  went  to  the  city  of  New 
York,  where  he  studied  under  J.  O.  Eaton,  and  spent  a  year  in  the 
schools  of  the  National  Academy.  In  1871  he  opened  a  studio  in 
St.  Louis,  painting  fruit  and  flower  pieces.  He  sailed  for  Europe  in 
1872,  settling  in  Munich,  studying  in  the  Koyal  Academy  there,  and 
gaining  three  medals.  He  was  a  pupil  of  Wagner,  Piloty,  and 
others,  in  Munich,  painting  also  for  a  year  in  Venice,  where  he  de- 
voted himself  particularly  to  the  study  of  the  works  of  Tintoretto. 
Among  his  more  important  works  are  the  portraits  of  five  children  of 
Director  Piloty  at  Munich,  belonging  to  that  artist,  and  "  The  Dowa- 
ger," a  large  study,  painted  in  Munich,  and  upon  the  strength  of  which 
he  was  accepted  by  Piloty  as  a  pupil.  The  "  Dowager,"  exhibited  at 
the  National  Academy,  New  York,  in  1875,  belongs  to  Eastman  John- 
son. To  the  National  Academy  in  1877  he  sent  the  "  Broken  Jug"  and 
"  The  Unexpected  Intrusion  "  ;  in  1878,  "  The  Court- Jester,  or  Key- 
ing up."  To  the  first  exhibition  of  the  Society  of  American  Artists 
in  New  York,  in  1878,  he  sent  "  Keady  for  the  Ride  "  (now  in  posses- 
sion of  the  Union  League  Club),  "  The  Apprentice,"  "  The  Wounded 
Poacher,"  and  a  "  Study  of  a  Head."  The  "  Court-Jester  "  was  at  the 
Centennial  at  Philadelphia  in  1876,  where  he  received  a  medal.  He 
returned  to  the  United  States  in  the  autumn  of  1878. 

"  The  pictures  by  Chase  have  the  good  fortune  to  please  alike  a  large  part  of  the  gen- 
eral public  and  the  artists  themselves.  The  public  cares  for  the  subject,  the  artists  care 
for  the  treatment,  the  color,  the  drawing,  the  handling  ;  and  so,  whenever  the  gallery  is 
full,  the  '  Ready  for  the  Ride '  and  the  1  Apprentice  '  are  never  without  their  groups  of  ad- 
mirers. Another  point  to  be  noted  in  regard  to  these  pictures  is,  that  they  seem  to  be 
by  different  hands,  so  free  are  they  from  mannerism  or  individual  trick  ;  and  this  is 

so  rare  a  quality  that  it  is  not  strange  it  should  be  much  remarked  on  As  I 

have  said,  the  picture  '  Ready  for  the  Ride  '  does  not  altogether  please  at  first ;  there  are 
faults  in  it  that  easily  catch  the  eye.  You  cannot  walk  all  round  this  figure  ;  then  there 
is  the  ugly  dress  of  which  I  have  already  spoken :  these  things  are  drawbacks,  and  in 
the  case  of  some  pictures  they  might  prove  serious  defects.  But  here  they  only  add 
mystery  and  piquancy,  and  give  just  the  needed  accent  to  the  face,  which  is,  after  all,  the 
whole  picture.  The  '  Ready  for  the  Ride '  has  been  purchased  by  the  Union  League 
Club  of  this  city.  I  wish  the  '  Apprentice '  could  be  purchased  by  the  Society  of  Amer- 
ican Artists,  as  the  nucleus  of  such  a  collection  as  either  they  or  some  one  else  must 
soon  begin  to  form,  if  we  would  be  binding  artists  here  at  home."  —  Clarence  Cook  in 
New  York  Tribune,  March  16,  1878.  \ 

Chase,  Henry,  A.  N.  A.  {Am.)  A  native  of  Vermont.  He 
studied  art  in  Paris  under  Soyer,  sending  to  the  Paris  Salon  in  1878 
"  Pecheurs  anglais."  To  the  National  Academy,  New  York,  the  same 
year,  "Kullen  Point,  Sweden."  His  "  Low  Tide,  Welsh  Coast"  was 
exhibited  at  the  Mechanics'  Fair,  Boston,  in  1878. 

Chatrousse,  Emile.  (Fr.)  Born  at  Paris,  1827.  Medals  at  the 
Salons  of  1863,  '64,  and  '65.  Pupil  of  Bude.  In  1855  his  "Resignation" 
gained  his  first  medal  at  the  Exposition  Universelle.    Before  this  he 


134     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


had  made  the  group  of  "  Queen  Hortense  and  Prince  Louis."  His 
"  Seduction"  is  at  the  Museum  of  Vendome.  The  "  Renaissance  "  is  at 
the  entrance  of  the  chateau  of  Fontainebleau.  The  "Little  Vintager" 
is  at  the  Museum  of  Grenoble.  "  Comedy  "  is  on  the  front  of  the 
theater  of  the  Chatelet.  "  Magdalen  in  the  Desert "  is  at  the  Mu- 
seum of  Douai.  His  group  of  "  The  Crimes  of  the  War "  was  pur- 
chased by  the  State,  and  is  a  work  of  remarkable  power  and  feeling. 

Chauvel,  Theophile.  (Fr.)  Born  at  Paris,  1831.  Second  prix 
de  Rome,  1854.  Two  medals  for  lithography  at  Salons.  Pupil  of 
Picot,  Bellel,  and  Aligny.  Landscape-painter.  His  "  Pond  at  Brenne  " 
is  in  the  Museum  at  Pau.  Studied  lithography  under  Jules  Laurens, 
and  reproduces  most  happily  the  works  of  Corot,  Bonington,  Theo- 
dore Rousseau,  Diaz,  and  Isabey.  Later  he  has  made  etchings  which 
are  much  praised  by  other  artists.  He  was  one  of  the  jurors  for  the 
Exposition  of  1878.  At  the  Salon  of  1877  he  exhibited  etchings  of 
"  La  Falaise,"  after  Van  Marcke,  "  A  Trunk  of  a  Tree,"  after  Diaz, 
"  A  Scene  in  the  Forest  of  Fontainebleau,"  after  Th.  Rousseau,  and 
"  Springtime,"  after  Daubigny  ;  in  1876,  a  painting,  *'  The  Border  of 
a  Wood,"  and  etchings  after  Corot,  Gegerfelt,  and  Troy  on  ;  in  1875, 
pictures  of  "  The  Environs  of  Precy  "  and  a  "  Scene  near  Magny-les- 
Hameaux, "  also  eight  etchings,  and  a  lithograph  of  "Cows  at  a 
Watering-Place,"  after  Troy  on  ;  in  1874,  lithographs  of  "  A  Terrier," 
after  Decamps,  and  "  The  Cottage,"  after  Eugene  de  Tabey. 

Chavet,  J.  Victor.  (Fr.)  Born  at  Aix.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Roqueplan.  At  the  Johnston  sale  in  1876, 
New  York,  "  The  Man  Reading  "  (8  by  6)  sold  for  $  280,  and  "  The 
Connoisseurs  "  (9  by  7),  from  the  Wolfe  sale,  for  $  420.  His  picture 
of  the  "  Sleeper "  (1859)  is  in  the  Luxembourg.  At  the  Salon  of 
1878  he  exhibited  "  La  lecture  du  feuilleton." 

Chenavard,  Paul.  (Fr.)  Born  at  Lyons,  1808.  Chevalier  of  the 
Legion  of  Honor.  Studied  in  Paris  under  Hersent  and  Ingres  ;  then 
went  to  Italy,  where  he  remained  several  years.  He  so  admired  and 
so  studied  the  old  masters  that  his  works  all  show  their  influence  on 
him.  After  his  return  to  France  he  exhibited  "  The  Judgment  of 
Louis  XVI."  and  "  Mirabeau  replying  to  the  Marquis  of  Dreux-Breze." 
Chenavard  sympathized  with  the  revolution  of  February,  and  the 
leaders  commissioned  him  to  do  an  immense  amount  of  work  for  the 
decoration  of  the  Pantheon  ;  he  intended  to  represent  the  history  of 
civilization,  and  had  completed  several  enormous  cartoons  when  the 
Pantheon  was  given  up  to  be  used  as  a  church.  These  cartoons  were 
exhibited  in  1853  and  '55  ;  and  in  1869  the  last  one,  called  the  "  Di- 
vina  Tragedia,"  was  finished  as  a  picture  and  sent  to  the  Salon.  It 
attracted  much  attention,  and  was  first  placed  in  the  Salon  of  Honor, 
but  as  the  orthodoxy  of  its  sentiment  was  questioned,  it  was  removed 
to  a  less  conspicuous  place.  While  the  French  government  were  dis- 
cussing the  question  of  purchasing  this  picture  or  not,  the  government 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  135 


of  Bavaria  requested  that  it  should  be  sent  to  Munich  for  an  exposi- 
tion there  ;  but  it  is  now  in  the  Luxembourg.  Chenavard,  as  a  mem- 
ber of  the  Committee  of  the  Fine  Arts  for  International  Expositions, 
made  one  of  the  jury  at  Vienna  in  1873. 

Cheney,  Seth  W.  (Am.)  Native  of  Manchester,  Conn.  (1810- 
1856).  An  artist  in  crayon,  famous  for  his  female  heads.  He  vis- 
ited Europe  several  times  for  purposes  of  study  and  observation.  He 
was  one  of  the  most  popular  and  successful  of  our  earlier  draughtsmen 
in  black  and  white,  and  his  works,  whether  portraits  or  ideals,  are 
still  highly  prized. 

"  Seth  Cheney  was  a  keen  and  delicate  lover  of  beauty  ;  his  choicest  work  was  in  de- 
lineating with  the  crayon  exquisite  female  heads,  and  some  of  these  far  surpassed  any- 
thing before  achieved  on  this  side  the  water  :  his  likenesses  were  unequal  ;  fastidious 
and  susceptible,  it  was  requisite  that  he  should  be  en  rapport  with  his  sitter  to  succeed. 
....  Seth  Cheney  initiated  in  this  country  the  cultivation  and  appreciation  of  crayon 
portraiture,  and  left  peerless  examples  thereof,  breathing  a  delicate  and  delicious  mastery 
of  the  very  elements  of  expression. "  —  Tuckerman's  Book  of  the  Artists. 

Chenu,  Fleury.  (Fr.)  Born  at  Lyons.  Died  in  1875.  Medal  in 
1868.  Pupil  of  the  School  of  Fine  Arts  at  Lyons.  Painter  of  land- 
scapes and  genre  subjects.  "The  Stragglers,  —  Effect  of  Snow" 
(1870)  is  at  the  Luxembourg.  At  the  Salon  of  1873  he  exhibited 
"  The  Saone  "  ;  in  1872,  "  La  visite  de  noces."  The  first  picture  ex- 
hibited by  Chenu  at  the  Salon  was  a  snow-scene,  and  was  bought  by 
telegram  by  A.  Dumas  fils. 

Chevalier,  N.  (Swiss-Brit.)  A  native  of  Switzerland.  He  has 
resided  in  London  since  1873,  exhibiting  frequently  at  the  Royal 
Academy.  He  lived  in  Melbourne,  Australia,  for  some  time,  and  was 
in  the  suite  of  the  Duke  of  Edinburgh  during  that  prince's  visits  to 
India,  Australia,  and  New  Zealand.  By  order  of  the  Queen,  he 
painted  "  The  Thanksgiving  Day  Procession,  February  27,  1873." 
Among  his  works  are,  "  A  Bit  of  the  Grounds  at  Mount  Stuart "  (at 
the  Glasgow  Loan  Exhibition  of  1878,  belonging  to  A.  B.  Stewart), 
"  The  Opening  of  the  International  Exhibition  at  Vienna  in  1873  " 
(at  the  Royal  Academy  in  1877),  "  An  Eastern  Puzzle,"  *'  Chinese 
Lama  Priests  at  Home,"  "  Spring  at  Bute,"  "  Weary,"  etc. 

"  So  skillfully  has  the  artist  grouped  the  figures  and  distributed  the  warm  lights  which 
beat  upon  the  dais,  and  strike  less  strongly  upon  the  other  parts  of  the  canvas,  that  the 
work  possesses  an  artistic  value  altogether  apart  from  its  interest  as  a  representation  of 
contemporary  history  ['  Opening  of  the  Vienna  Exhibition,'  R.  A.,  1877].  —  London 
Morning  Advertiser,  May,  1877. 

Chierici,  Gaetano.  (Ital.)  This  artist  paints  interiors  of  kitchens 
with  wonderful  skill.  He  usually  introduces  some  home  story  in 
which  children  play  a  part.  At  London,  Royal  Academy,  1877,  he 
exhibited  "  The  Widow's  Dinner "  ;  in  1876,  "  Mother  is  111  "  and 
"  The  Bath."  At  the  Corcoran  Gallery,  Washington,  is  his  picture 
called  "  Fun  and  Fright."  This  work  attracted  much  attention  when 
exhibited  in  Milan,  Boston,  etc.    It  represents  the  kitchen  in  which 


136     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  artist  lived  when  poor  and  struggling,  and  the  boy  and  girl  are  his 
own  children. 

Chintreuil,  Antoine.  (Fr.)  Bora  at  Point-de-Vanx  (1814- 
1873).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Corot.  This 
landscape-painter  experienced  hardship  and  poverty,  and  received  the 
honors  which  came  to  him  late  in  life.  Until  ten  years  before  his 
death  his  works  were  refused  at  the  Salon,  and  he  received  his  first 
medal  in  1867.  He  was  a  true  lover  of  Nature,  and  learned  to  be 
her  interpreter  by  devoted  study  of  herself  alone.  He  may  be  said  to 
have  had  no  art  education,  as  the  term  is  used,  so  limited  were  his 
means  and  opportunities.  His  subjects  often  seem  dull  and  uninter- 
esting, but  they  are  rendered  with  true  artistic  sentiment.  "  The  Ex- 
panse" (1869)  and  a  "Thicket  with  Deer"  (1874)  are  in  the  Luxem- 
bourg. In  1864  he  exhibited  "The  Ruins,  —  Setting  Sun"  and  "A 
Meadow,  —  Sun  scattering  a  Fog";  in  1867,  "A  Plain  in  the  Time  of 
the  Oat  Harvest  "  (rising  moon)  and  "  The  Fields  in  Autumn  "  ;  in 
1868,  "  The  Morning  Sun  after  a  Stormy  Night  "  and  "  The  Shower  "  ; 
in  1870,  "The  Moon"  and  "A  Ray  of  Sun  on  a  Field  of  French 
Grass"  ;  etc. 

"Chintreuil  was  one  of  those  genuine  lovers  of  nature  whose  impressions  are  much 
too  vivid  to  be  rendered  in  set  methods  ;  but  an  original  artist  of  this  kind  is  generally 
both  longer  in  acquiring  technical  skill,  and  longer  in  commanding  public  applause, 
than  a  docile  pupil  of  tradition.  The  wonder,  in  our  opinion,  is  that  a  painter  like  Chin- 
treuil should  ever  become  famous  at  all ;  not  that  he  did  not  deserve  fame,  but  because 
there  is  so  little  to  attract  popular  attention  in  his  work."  —  The  Portfolio,  July,  1874. 

"  M.  Chintreuil  loves  to  seize  that  which  appears  unseizable,  to  express  that  which 
seems  inexpressible ;  the  vegetable,  geological,  atmospheric  complications  attract  him 
inevitably ;  his  curious  mind  and  his  skillful  brush  are  only  at  ease  in  the  midst  of 
the  strange  and  unexpected  ;  when  he  succeeds  he  creates  prodigies.  We  remember  his 
beautiful  picture,  '  L'Espace' ;  this  year  '  Pluie  et  Soleil '  has  no  less  originality,  charm, 
and  grandeur. "  —  Georges  Lafenestre,  Gazette  des  Beaux-Arts,  July,  1873. 

Christie,  Alexander.  (Brit.)  Born  in  Edinburgh  (1807  - 1860). 
Brought  up  to  the  law  as  a  profession,  he  did  not  begin  the  study 
of  art  until  1833,  when  he  entered  the  Trustees  Academy  in  his 
native  city,  studying  under  Sir  William  Allan.  In  1843  he  was 
appointed  assistant-teacher,  and  in  1845  one  of  the  masters  of  the 
Trustees  Academy.  He  was  elected  Associate  of  the  Royal  Scottish 
Academy  in  1848.  His  specialty  was  ornamental  designs  on  panels. 
Several  specimens  of  his  work  are  at  the  Scottish  National  Gallery. 

Church,  Frederick  E.,  N.  A.  (Am.)  Born  at  Hartford,  Ct., 
1826.  Showed  a  decided  talent  for  pictorial  art  when  quite  a  lad, 
and  at  an  early  age  became  a  pupil  of  Cole  at  Catskill,  N.  Y.,  where 
he  lived  and  painted  for  some  years.  In  1849  he  was  made  full  mem- 
ber of  the  National  Academy,  New  York.  Went  to  South  America 
for  the  purpose  of  sketching  in  1853  and  again  in  1857.  A  few  years 
later  he  made  sketches  on  the  coast  of  Labrador  for  his  "  Icebergs." 
which  was  exhibited  in  London  in  1863,  attracting  considerable  at- 
tention there,  a  leading  London  journal  saying  of  it,  "  The  picture  is 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  137 


treated  with  the  utmost  subtlety  and  delicacy,  both  of  form  and 
color,  and  brings  the  weird  and  wondrous  ice- world  most  vividly  and 
impressively  before  the  spectator."  Church  went  to  Jamaica  in  1866, 
making  many  studies  ;  in  1868  he  made  his  first  visit  to  Europe, 
going  to  Palestine  and  Greece,  painting  "  The  Parthenon,"  "  Jerusa- 
lem," and  other  important  pictures. 

In  1867  Church  exhibited  at  the  National  Academy,  New  York,  his 
"  Rainy  Season  in  the  Tropics  "  (belonging  to  Marshall  0.  Roberts)  ; 
in  1868,  "A  South  American  Landscape  "  (the  property  of  the  Na- 
tional Academy)  ;  in  1869,  "  Scene  among  the  Andes "  ;  in  1870, 
"  The  After-Glow  "  ;  in  1874,  "  El  Khasne  Petra  "  ;  in  1878,  "  Even- 
ing on  the  Sea." 

His  "  Icebergs  "  was  purchased  by  Mr.  Watson,  M.  P.,  of  London  ; 
"  Andes  of  Ecuador  "  belongs  to  M.  0.  Roberts  ;  his  "  Cotopaxi,"  be- 
longing to  William  T.  Bloclgett,  was  sold  for  $  2,500,  and  the  "Heart 
of  the  Andes,"  at  the  same  sale,  brought  $  10,000.  William  T. 
Walters  of  Baltimore  owns  his  "  Twilight "  and  "  A  River  of  South 
America  "  ;  the  "  Twilight  in  the  Wilderness,"  belonging  to  the  col- 
lection of  John  Taylor  Johnston,  was  sold,  in  1876,  for  $  3,600,  and 
his  "  Niagara,"  also  belonging  to  Mr.  Johnston,  was  purchased  by  the 
Corcoran  Gallery  in  Washington  for  $  12,500.  This  is  probably  the 
best  known  of  Church's  works  ;  it  has  been  exhibited  and  reproduced 
by  various  processes.  At  the  International  Exhibition  at  Paris  in  1867 
it  received  a  medal  of  the  second  class.  To  the  Exposition  of  1878  in 
Paris  he  contributed  his  "  Morning  in  the  Tropics  "  and  "  The  Parthe- 
non," the  latter  owned  by  Morris  K.  Jessup  of  New  York.  In  Mr. 
Osborne's  collection  are  "  A  Tropical  Moonlight "  and  "  Chimborazo." 
Mrs.  Colt  of  Hartford  owns  "  Jamaica." 

"  Church's  style  promises  to  be  the  best  Turnerian,  carried  forward  with  preciseness 
of  details  and  temperance  of  color."  —  London  Art  Journal,  September,  1863. 

"Church's  'Niagara'  was  immediately  recognized  as  the  first  satisfactory  delineation 
by  art  of  one  of  the  greatest  natural  wonders  of  the  Western  World,  and  this  is  in  itself 
extraordinary  praise.  The  success  of  the  artist  in  representing  the  rapids  is  marvelous. 
....  Indeed,  this  work  forms  an  era  in  the  history  of  native  landscape  art,  from  the 
revelation  it  proved  to  Europeans."  —  Tuckerman's  Book  of  the  Artists. 

"  Church  leads  or  misleads  the  way  according  as  the  taste  prefers  the  idealistic  or 
the  realistic  plane  of  art.  Certain  it  is  that  Church  has  achieved  a  great  popular  success 
in  his  tropical  scenery,  Icebergs,  and  Niagaras,—  success  that  brings  him  orders  for  pic- 
tures as  fast  as  he  can  produce  them,  at  prices  heretofore  fabulous  in  his  branch  of  art. 
....  No  one  hereafter  may  be  expected  to  excel  Church  in  the  brilliant  qualities  of  his 
style.  Felicitous  and  novel  in  composition,  lively  in  details,  experimentive,  reflecting  in 
his  pictures  many  of  the  qualities  of  the  American  mind,  notwithstanding  a  certain  false- 
ness of  character,  Church  will  long  continue  the  favorite  with  a  large  class."  —  Jarves, 
Art  Idea. 

"  Mr.  Church  contributed  his  '  Chimborazo,'  which,  while  it  is  representative  of  his 
peculiar  style,  is  not  one  of  his  best  works  ;  it  is  not  equal  to  his  '  Niagara '  or  his  '  Heart 
of  the  Andes.'  The  eminent  ability  displayed  by  this  artist  in  the  works  last  mentioned 
merits  high  praise  and  has  been  widely  acknowledged.  Mr.  Church  views  the  landscape 
with  the  cool  deliberation  of  the  scientist  rather  than  with  the  intensity  of  the  artist : 
his  estimate  of  its  values  and  its  facts,  therefore,  is  rather  scientific  than  artistic.  His 


138     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


art  is  always  attractive  and  brilliant,  but  it  has  a  tendency  towards  accumulation  of 
detail  in  lieu  of  fullness  of  sentiment.  His  merits,  however,  are  so  generally  recognized, 
and  have  so  properly  won  for  him  the  distinction  due  to  brilliant  talents,  that  his  work 
rarely  fails  to  attract  attention  and  elicit  praise.  *  Chimborazo  '  is  one  of  a  series  of 
pictures,  the  materials  for  which  were  sought  in  another  continent,  and  the  extraordi- 
nary enterprise  manifested  by  this  artist  in  visiting  remote  latitudes  in  search  of  subjects 
for  his  pencil  was  a  feature  of  his  art  that  has  since  found  numerous  imitators.  But  he 
is  not  insensible  to  the  fact  that  all  the  materials  requisite  for  great  art  may  be  found 
always  near  at  hand,  and  even  among  what  is  termed  mere  commonplace."  —  Prof. 
Weir's  Official  Report  of  the  American  Centennial  Exhibition,  1876. 

Church,  F.  S.,  A.  N.  A.  {Am.)  He  has  occupied  a  studio  in  New- 
York  for  some  years,  working  in  oil-colors,  water-colors,  and  black 
and  white.  His  pictures  are  generally  of  animal  or  bird  life,  and  of  a 
satirical  or  comic  character.  He  has  exhibited  at  the  National  Acad- 
emy "  Weirdness,"  "  Mad  as  March  Hares,"  "  The  Solo,"  "  The  Sea 
Princess,"  and  others  in  oils.  To  the  Exhibitions  of  the  Water-Color 
Society,  of  which  he  is  a  member,  he  has  contributed  "  Hard  Times," 
"  Foraging  Party,"  "  The  Phantoms,"  "  The  Elfin  Tandem,"  «  The  Os- 
trich Dance,"  "  The  Awkward  Squad,"  "  Scraping  Acquaintance  with 
the  Baby  Elephant,"  etc.  He  has  furnished  book  and  magazine  illus- 
trations for  the  Scribners'  and  other  publishing  houses. 

Cibot,  Francois-Barth&emy-Michel-Edouard.  (Fr.)  Born  at 
Paris  (1799  -  1876).  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
1'I^cole  des  Beaux- Arts,  Guerin,  and  Picot.  Made  his  debut  at  the 
Salon  of  1827.  Cibot  executed  mural  paintings  at  the  church  of 
Saint-Leu.  Some  of  his  works  are  at  Versailles.  In  1874  he  exhib- 
ited at  the  Salon  "The  Vision  of  Ezekiel  "  and  "Environs  of  Sevres"; 
in  1869,  "The  Forest  of  Meudon"  and  "The  Chestnuts";  in  1868, 
"A  Sand-Pit  near  Paris"  and  "Landscape  near  Paris"  ;  in  1867, 
"  View  of  Rochefort ";  etc.  At  the  Luxembourg  is  "  Le  gouffre,  pres 
Seine-Port"  (1864). 

Claes,  Constant.  (Belgian.)  Born  at  Tongres,  1826.  Pupil  of 
De  Keyser,  Madou,  and  Baron  Leys.  He  paints  genre  subjects.  His 
pictures  are  not  numerous,  and  he  is  little  known  beyond  his  own 
country.  Among  his  works  are,  "  The  Country  Curate,"  "  The  Doc- 
tor," "  The  Charitable  Child,"  etc. 

Clark,  Thomas.  (Brit.)  A  native  of  Scotland.  Died,  1875.  He 
was  educated  in  Edinburgh.  Devoted  himself  to  landscape-painting, 
and  began  to  exhibit  at  the  age  of  twenty,  contributing  regularly  for 
many  years  to  the  Royal  Scottish  Academy,  of  which  he  was  elected 
an  Associate  Member  in  1865. 

Clark,  Joseph.  (Brit.)  Born  in  Dorsetshire,  1835.  He  received 
his  art  education  in  the  school  of  J.  M.  Leigh,  London,  and  has  spent 
his  professional  life  in  that  city.  He  has  contributed  frequently  to  the 
Exhibitions  of  the  Royal  Academy,  and  received  a  medal  and  award 
at  Philadelphia  in  1876,  sending  there  his  "  Sick  Child  "  and  "  The 
Bird's-Nest."  Among  his  more  important  works  are,  "  The  Wan- 
derer Restored,"  belonging  to  H.  Wallis,  Esq.  (R.  A.,  1861)  ;  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  139 


"  Early  Promise,"  purchased  by  the  Eoyal  Academy,  where  it  was  ex- 
hibited in  18*77.  To  the  Koyal  Academy  in  1867  he  sent  "  Bricks  "  ; 
1869,  "The  Empty  Cradle";  1870,  "School-Time";  1872,  "All 
Alone";  1873,  "Early  Efforts  "  ;  1875,  "  A  Quiet  Afternoon  "  ;  1877, 
"Checkmate";  1878,  "Wandering  Minstrels"  and  "A  Morning  Call." 

" '  The  Sick  Child,'  by  J.  Clark,  is  pathetic  and  tender  in  feeling  ;  a  sincere  represen- 
tation of  that  true  touch  of  nature  which  makes  the  whole  world  kin.  Few  pictures  of 
the  English  school  evince  more  admirable  qualities  than  this  by  Mr.  Clark." — Peof. 
Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

Claude,  Jean-Maxime.  (Fr.)  Born  at  Paris.  Medals,  1866,  '69, 
and  '72.  Pupil  of  GaUand.  At  the  Salon  of  1877  he  exhibited  "  Ces 
messieurs  sont  servis  !  "  and  "  Conversation  in  Hyde  Park  "  ;  in  1876, 
"Eeturn  from  Botten  Row";  in  1875,  "The  Park,  London  "  and 
"  The  Beach "  ;  in  1873,  "  The  Repose  "  and  "  Conversation  "  ;  in 
1872,  "  The  Antechamber  "  and  "  Souvenir  of  Rotten  Row,  London  "; 
in  1878,  "A  Sketch  on  the  Cliff"  and  the  "Exit  from  Hyde  Park 
by  the  Albert  Gate." 

Clays,  Pierre-Jean.  (Belgian.)  Born  at  Bruges,  1819.  Cheva- 
lier of  the  Legion  of  Honor  and  of  the  Order  of  Leopold.  Studied 
at  Paris  under  Gudin,  and  devoted  himself  to  what  may  be  termed 
genre  marine  subjects.  Settled  at  Brussels,  where  in  1851  he  received 
a  gold  medal.  At  the  Salon  of  1877  he  exhibited  "  The  Zuyder-Zee, 
near  Texel,  in  Calm  Weather"  and  "A  Canal  in  Zelande"  ;  in  1876, 
"Bruges"  and  "  The  North  Sea"  ;  in  1875,  "View  on  the  Scheldt" 
and  "  The  Thames,  near  London  "  ;  in  1874,  "  A  Dead  Calm, —  Morn- 
ing Light "  and  "  A  Squall  on  the  Scheldt,  near  Antwerp  "  ;  in  1868, 
"  Entrance  to  Southampton  Water,  with  a  Good  Breeze  "  and  "  A 
Calm  on  the  Scheldt,  near  Flessingue";  etc.  At  the  Johnston 
sale,  New  York,  1876,  "  A  Marine,  Dutch  Shipping"  (31  by  51)  sold 
for  $  3,550.  At  the  Latham  sale,  New  York,  1878,  "  A  View  on  the 
Scheldt"  (20 by  28)  brought  $  900.  At  a  Paris  sale,  1873,  "  A  Calm  " 
sold  for  £436.  At  the  Salon  of  1878  Clays  exhibited  "A  Calm  in 
the  Nieuwe-Maas  "  and  "  Saardam,"  views  in  Holland. 

"He  is  Flemish  in  his  manner  of  painting  ;  and  in  his  choice  of  landscapes  is  some- 
what like  the  Dutch.  He  does  not  paint  the  sea,  but  the  Scheldt  where  it  widens,  and 
those  gray  and  light  waters  which  bear  you  in  a  steamer  from  Moerdyk  to  Rotterdam. 
With  a  profound  feeling  for  these  things,  he  expresses  in  the  calme  plat,  in  the  gros 
temps,  the  humidity  of  the  skies  of  Western  Flanders,  the  sleep  of  the  calmed  water,  or 
the  caress,  sometimes  menacing,  of  the  breeze  which  makes  the  little,  uneasy  waves 
shiver  around  the  Koffs  loaded  to  the  brim.  The  water  has  found  in  Clays  a  marvelously 
exact  painter  ;  he  gives  it  movement,  limpidity,  life ;  and,  with  happy  talent,  he 
knows  the  spots  where  the  sun's  rays  cross  it  to  fill  it  with  light."  —  Paul  Mantz, 
Gazette  des  Beaux-Arts,  July,  1867. 

"  For  a  long  time  the  sea,  or  rather  the  water,  has  had  no  interpreter  more  exact  than 
Clays  ;  he  knows  its  clearness,  and  he  knows  how  to  render  the  little  noisy  waves  all 
bathed  in  light.  We  cannot  say,  however,  that  he  has  made  much  progress  this  year. 
His  '  North  Sea,'  in  spite  of  certain  indecisions  in  drawing,  has  some  traits  of  charming 
sincerity  ;  and  if  the  '  View  of  Bruges '  is  of  a  hurried  execution,  one  finds  in  it  a  freshness 
and  a  true  tone  which  is  incontestably  alluring.    Nevertheless,  the  brilliant  debuts  of 


140     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


this  artist  make  us  difficult  to  please  where  he  is  concerned,  and  we  would  not  wish  to 
content  ourselves  with  a  simple  mark  of  esteem. " —  Ren:&  MIsnard,  L'Art,  1876. 

Cldsinger,  Jean-Bap tiste-Auguste.  (Fr.)  Born  at  Besancon, 
about  1820.  Officer  of  the  Legion  of  Honor.  This  sculptor  studied 
with  his  father,  visited  Italy,  and  made  his  debut  at  the  Salon  of 
1843.  His  first  work  which  attracted  special  attention  was  "  The 
Woman  bitten  by  a  Serpent"  (1847).  He  has  executed  "Louise 
of  Savoy  "  for  the  Garden  of  the  Luxembourg.  In  1877  he  exhibited 
"The  Dance  with  Castanets,"  bronze  statue;  in  1876,  "France," 
bronze  bust,  and  a  portrait  bust  of  General  de  Cissey  ;  in  1875, 
"  Portrait  of  Mme.  Ratazzi,"  marble  bust ;  in  1869,  "  Cleopatra  before 
Csesar,"  marble  statue  ;  etc.  Clesinger  has  occasionally  exhibited 
paintings  of  scenery  and  architecture.  At  the  Khalil-Bey  sale,  Paris, 
1868,  "  Helen,"  a  statue,  sold  for  ^680.  At  another  Paris  sale,  1868, 
the  "Triumph  of  Arianus"  sold  for  £852,  and  the  "Death  of 
Lucretia,"  for  £624.  At  the  Salon  of  1878  he  exhibited  "  Phryne  with 
the  Vase  "  and  "  A  Eoman  Bull."    [Died,  1883.] 

Clifford,  E.  (Brit.)  Born  in  Bristol,  1844.  He  received  his  first 
instructions  in  the  School  of  Art  of  his  native  city,  and  later  was  a 
pupil  of  the  Royal  Academy.  He  has  devoted  himself  particularly  to 
portrait-painting,  spending  his  professional  life,  so  far,  in  Italy,  India, 
Palestine,  and  London.  Among  his  sitters  have  been  Lady  Ashbur- 
ton,  Countess  of  Pembroke,  Countess  Brownlow,  Lord  and  Lady 
Lytton  (painted  in  India),  Earl  and  Countess  of  Shrewsbury,  Earl  of 
Pembroke,  Mrs.  Percy  Wyndham,  Miss  Octavia  Hill,  and  many  others, 
exhibited  at  the  Dudley  Gallery,  Royal  Academy,  and  Grosvenor  Gal- 
lery. His  more  important  ideal  works  have  been  "  Entertaining  an 
Angel  Unawares,"  "  Israelites  gathering  Manna,"  and  "  The  Spies," 
the  last  painted  for  Lady  Ashburton  ;  all  exhibited  at  the  Dudley 
Gallery. 

Clint,  George,  A.  R.  A.    (Brit.)    Born  in  London  (1770-1854). 

Began  life  as  a  fishmonger,  was  later  in  an  attorney's  office,  became 
thereafter  a  house-painter,  and  finally,  about  the  beginning  of  the 
century,  turned  his  attention  to  miniature-painting,  in  which  branch 
of  the  profession  he  met  with  marked  success.  He  was  also  an  en- 
graver in  mezzotint,  executing  several  prints  for  Lawrence,  —  "  The 
Death  of  Nelson,"  after  Drummond  ;  "  The  Kemble  Family," 
after  Harlow;  and  others.  He  painted  the  portraits  of  many  of 
the  leading  dramatic  celebrities  of  his  day,  in  groups  and  singly,  — 
notably,  Kean  as  Sir  Giles  Overreach  and  Richard  III.,  Liston  as 
Paul  Pry,  Young  as  Hamlet,  Battley  as  Falstaff,  Macready  as 
Macbeth,  Mathews  the  elder  as  the  Lying  Valet,  etc.,  —  which  are 
familiar  to  collectors  by  the  engravings,  which  are  themselves  rare. 
Many  of  the  original  portraits  are  in  the  Garrick  Club,  London,  and 
in  famous  private  galleries  of  England.  He  painted,  also,  many 
other  portraits  in  oil  and  water-colors.    In  1821  he  was  elected  an 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  141 


Associate  of  the  Royal  Academy,  but  resigned  from  it  in  1835.  The 
last  years  of  his  life  were  spent  in  retirement.  His  "Falstaff  and 
Mistress  Ford  "  (Vernon  Collection)  is  in  the  National  Gallery. 

Clint.  Alfred.  (Brit.)  Born  in  London,  1807.  Son  and  pupil  of 
George  Clint,  studying  later  in  the  British  Institute,  where  his  first 
pictures  were  exhibited  when  he  was  about  twenty  years  of  age.  He 
began  his  career  as  a  portrait-painter,  but  turned  his  attention  to 
landscapes  and  marine  views,  in  which  he  has  been  very  successful. 
He  was  elected  a  member  of  the  Society  of  British  Artists  in  1850, 
was  Honorable  Secretary  of  the  Society  for  several  years,  and  was 
elected  its  President  in  1869,  a  position  he  still  holds  (1878),  contrib- 
uting to  its  exhibitions  annually  for  many  seasons.  Among  his  works 
may  be  mentioned,  "  The  Entrance  to  the  Harbor  of  Little  Hampton 
in  Sussex,"  "  Evening,  —  Coast  Scene,"  "  St.  Michael's  Mount,  Com' 
wall,"  in  1877.  His  "  Lake  Scene,  —  Sunset "  and  "  Sunset  at  Hast- 
ings "  were  at  Philadelphia  in  1876  ;  his  "  Twilight "  was  at  Paris  in 
1878.    [Died,  1883.] 

Clodt-Jurgensbourg,  Baron  Peter.  (Russian.)  Born  in  Estho- 
nia,  1805.  Professor  in  the  Academy  of  St.  Petersburg,  and  member 
of  the  Academy  of  Arts  of  Berlin.  His  father  placed  him  in  the 
army,  but  after  several  years,  his  father  being  dead,  he  entered 
l'l^cole  des  Beaux-Arts  in  St.  Petersburg,  and  devoted  himself  es- 
pecially to  the  sculpture  of  horses.  A  number  of  his  works  are  seen 
in  public  places  in  St.  Petersburg,  and  some  of  them  are  in  Prussia. 

Cobb,  Cyrus.  (Am.)  Born  at  Maiden,  Mass.,  1834.  His  career 
for  about  twenty  years  was  identical  with  that  of  his  twin-brother, 
Darius  Cobb.  He  has  painted  portraits  of  the  Rev.  Dr.  A.  P.  Pea- 
body,  Dr.  J.  Appleton,  and  others,  but  at  present  devotes  himself  to 
the  law,  which  is  his  profession.  He  has  written  occasional  philo- 
sophical essays  on  art  topics. 

Cobb,  Darius.  (Am.)  Born  at  Maiden,  Mass.,  1834.  Twin- 
brother  of  Cyrus  Cobb,  with  whom,  until  1870,  he  studied  and 
worked  in  the  most  intimate  relations.  The  brothers,  in  the  be- 
ginning of  their  career,  refused  opportunities  offered  them  to  go  to 
Europe  for  instruction  in  art,  having  no  master  but  nature,  and 
knowing  only  the  American  school.  Their  professional  life  has  been 
spent  in  Boston  and  its  vicinity.  Darius  Cobb,  besides  painting  a 
large  number  of  portraits,  has  executed  landscapes,  figure-pieces,  and 
ideal  heads,  and  a  bust  of  B.  P.  Shillaber  (Mrs.  Partington),  cut  by 
him  in  marble,  is  in  the  High  School  house  at  Chelsea.  Among  the 
better  known  of  his  portraits  are  those  of  Collector  Simmons,  in  the 
Custom  House  in  Boston  (1875)  ;  of  Rufus  Choate,  purchased  by 
the  Suffolk  Bar  in  1877  ;  of  Governor  Andrew  (1868)  and  Professor 
Agassiz  (1873),  both  owned  by  Harvard  College  ;  one  of  Charles  Sum- 
ner ;  a  group  of  four  children  of  George  W.  Walker  of  Boston  ;  a  two- 
thirds  length  of  Henry  Wilson,  purchased  in  1876  by  his  native  town, 


142     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Natick.  Those  of  Cyrus  and  Sylvanus  Cobb,  Jr.,  were  at  the  Centen- 
nial Exhibition  at  Philadelphia  in  1876. 

Among  the  most  important  of  his  figure-pieces  are  his  "  King  Lear" 
and  "  Judas  in  the  Potter's  Field,"  which  were  exhibited  in  Boston  in 
1877,  and  he  is  at  present  (1878)  engaged  upon  a  picture  represent- 
ing "Christ  before  Pilate."  His  "Back-Bay  Lands"  and  other  land- 
scapes have  attracted  some  attention  in  Boston.  In  1869  the  brothers 
furnished  the  design  for  the  Soldiers'  Memorial  Monument,  unveiled 
on  the  Common  in  Cambridge,  Mass.,  in  July,  1870,  which  was 
erected  by  them,  and  for  which  they  received  $  25,000.  Darius  Cobb 
frequently  delivers  lectures  in  Boston  and  elsewhere  on  art  subjects. 

"Darius  Cobb  has  lately  finished  a  view  across  the  Common,  from  the  roof  of  the 
Studio  Building,  that  is  so  much  a  novelty  in  the  way  of  treatment,  as  well  as  subject 
suggested,  that  it  deserves  longer  mention  than  is  at  present  possible.  The  strength  of 
the  picture  is  in  the  sky ;  a  mass  of  clouds  reaching  across  the  canopy,  white  with  the 
noonday  light  massed  upon  it,  throwing  much  of  the  middle  distance,  such  as  the  tops 
of  the  trees,  into  comparative  shadow,  and  lending  to  several  church-spires  and  promi- 
nent buildings  something  of  its  own  clearness  and  vigor."  —  Aldine,  1876. 

"Darius  Cobb  has  given  us  a  picture  which  will  go  down  as  the  standard  one  of 
Choate,  —  a  picture  which  is  not  only  an  outward  semblance  of  the  man,  but  one  which 
seems  permeated  with  his  very  spirit.  It  is  full  of  that  shaggy  strength  which  impressed 
itself  on  every  beholder,  and  which  those  who  remember  his  forensic  eloquence  will  ap- 
preciate and  acknowledge."  —  Boston  Transcript,  June  24,  1876. 

Cobbett,  Edward  J.  (Brit.)  Born  in  London,  1815.  He  de- 
voted himself  to  art  at  an  early  age,  exhibiting  at  the  Koyal  Academy 
when  seventeen  or  eighteen  years  old,  since  which  time  he  has  sent  a 
great  variety  of  pictures  to  the  more  important  English  annual  art  ex- 
hibitions. He  has  been  a  member  of  the  Society  of  British  Artists 
since  1856,  and  its  Auditor  for  some  years.  Among  his  works  may 
be  mentioned,  "  The  Proposal "  (1863);  "  A  Bit  of  Luncheon";  "  The 
Ballad  "  (R.  A.,  1864);  "Wandering  Thoughts,"  in  1868;  "Heme  Bay," 
in  1870 ;  "Evening,"  in  1873.  To  the  Society  of  British  Artists  he 
contributed,  in  1877,  "  Returning  from  Market,"  "  A  Young  Gleaner," 
and  "A  Cottage  Scene,  Surrey";  in  1878,  "  A  Rustic  Confabula- 
tion," "  A  Girl  Knitting,"  etc. 

Codezo,  Thomas.  (Sp.-Am.)  Born  in  Havana,  1839.  He  re- 
ceived his  early  art  education  in  his  native  city,  studying  later  with 
Henri  Regnault  in  Paris,  and  under  Fortuny  in  Rome.  At  the  age 
of  eight  he  took  a  first  prize  for  whole-length  figure-drawing ;  also, 
the  first  prize  for  landscape,  the  same  year,  at  the  Academy  in  Ha- 
vana, and  has  since  received  gold  medals  in  other  countries.  He  is  a 
member  of  several  foreign  academies  and  societies,  and  has  spent  his 
professional  life  in  Cuba,  Madrid,  Barcelona,  Paris,  Rome,  Florence, 
and  has  been  in  the  United  States  since  1869.  Among  his  principal 
works  in  oil,  are  a  copy  of  Raphael's  "  Holy  Family,"  full  size,  in 
possession  of  the  President  of  the  Bank  Espafiol,  Havana  ;  an  ideal 
female  head  (Flemish  school),  and  an  historical  painting-,  "  Father 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  143 


Las  Casas  receiving  the  Spanish  Prisoners,"  both  owned  by  Conde  de 
Fernandina,  Havana  ;  also,  a  "  Sleeping  Venus,"  belonging  to  Voldo 
Venier,  New  York.  Among  his  crayon  portraits  are  those  of  Miss 
Jennie  Lee,  President  Anderson  of  Rochester,  Dr.  Fisher  of  Cin- 
cinnati, Cardinal  McCloskey,  infant  children  of  Mrs.  Bird  and  Mrs. 
Maclay  of  New  York,  and  others.  His  latest  work  is  a  portrait,  in 
crayon,  life  size,  of  William  Orton,  in  the  office  of  the  Western  Union 
Telegraph  Company. 

Coghetti,  Francesco.  (Ital)  Born  at  Bergamo  (1804-1875). 
Chevalier  of  the  Order  of  St.  Gregory  the  Great.  President  of  the 
Academy  of  St.  Luke.  Pupil  of  Diotti  and  Camuccini.  Coghetti  has 
executed  many  decorative  works  at  the  Villa  Torlonia,  in  the  Cathe- 
dral and  the  Bishop's  Palace  at  Bergamo,  and  in  the  Torlonia  Palace 
in  Rome  ;  but  his  chefs-d'oeuvre  in  decoration  are  in  the  Basilica  of 
Savona.  These  works  have  been  praised  for  style  and  execution. 
Among  his  oil-paintings  are,  "  The  Ascension,"  in  the  Cathedral  of 
Porto- Maurizio,  and  the  "  Condemnation  of  St.  Stephen."  For  the 
last  he  received  his  decoration. 

Vapereau  says  :  "  Coghetti,  endowed  with  a  rare  power  of  creation, 
is  one  of  the  chiefs-of-school  whom  Italy  most  honors." 

Cogniet,  Le"on.  (Fr.)  Born  at  Paris,  1794.  Member  of  the  In- 
stitute, 1849.  Officer  of  the  Legion  of  Honor,  1846.  Medal,  first 
class,  1855.  Pupil  of  Guerin.  He  took  the  grand  prix  de  Rome  in 
1817.  His  "  Marius  on  the  Ruins  of  Carthage,"  purchased  by  the 
government,  and  "  The  Murder  of  the  Innocents,"  both  exhibited  in 
1824,  were  the  foundation  of  his  reputation.  "  Numa"  was  also  pur- 
chased by  the  government.  "  St.  Stephen  bearing  Relief  to  a  Poor 
Family  "  is  in  the  church  of  Saint  Nicolas-des-Champs.  "  The  Na- 
tional Guard  marching  to  join  the  Army  in  1792"  and  "The  Battle 
of  Rivoli  "  are  at  Versailles,  where  is  also  "  Episodes  in  the  Campaign 
of  Egypt,"  on  which  Cogniet  worked  in  company  with  other  painters. 
His  picture  of  "  Tintoretto  painting  his  Dead  Daughter"  (1845),  at 
the  Museum  of  Bordeaux,  greatly  increased  his  fame.  He  also  deco- 
rated a  ceiling  at  the  Louvre  and  a  chapel  at  the  Madeleine.  Cogniet 
was  formerly  a  Professor  of  Drawing  at  the  Lyceum  of  Louis-le-Grand 
and  at  the  Polytechnic  School,  also  a  member  of  the  Superior  Council 
of  l'^cole  des  Beaux- Arts.     [Died,  1880.] 

Vapereau  says  that  his  talent  has  been  judged  in  divers  manners, 
but  his  correct  design  and  fine  color  have  been  recognized  by  all. 

Col,  David.  (Belgian.)  Born  at  Antwerp,  and  a  pupil  of  the 
Academy  of  that  city.  This  artist  paints  genre  pictures.  At  Phila- 
delphia, in  1876,  he  exhibited  "In  the  Wine-Cellar "  ;  at  Paris,  in 
1878,  "Un  concours  de  chant  (le  jury)."  His  "  Wine-Tasters  "  and 
"  Teaching  the  Dog "  are  in  the  gallery  of  Mr.  T.  R.  Butler  of  New 
York.    At  the  Paris  Salon,  in  1873,  he  exhibited  "  Les  tapageurs." 

Cole,  Thomas,  N.  A.    (Am.)    Born  in  England  (1801  - 1848). 


144     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Taken  to  America  as  a  child,  he  lived  with  his  family  in  the  State 
of  Ohio,  receiving  little  instruction  in  art,  and  studying  from  nature 
under  many  personal  difficulties.  He  finally  found  his  way  to  New 
York,  where  he  won  the  friendship  of  Durand  and  Trumbull,  and 
began  the  painting  of  the  autumnal  Hudson  landscapes,  which  in 
America  and  England  are  highly  prized.  He  made  several  visits  to 
Europe,  sketching  and  painting  in  England  and  on  the  Continent,  but 
his  most  attractive  works  were  his  American  scenes.  His  allegorical 
pictures,  however,  were  very  popular  ;  "  The  Voyage  of  Life  "  being, 
perhaps,  the  best  known,  through  frequent  engravings.  The  original 
series,  belonging  to  John  Taylor  Johnston,  was  sold  in  1876  for  $  3,100. 
Morris  K.  Jessup  bought  the  "  Mountain  Ford  "  for  $  900,  at  the  same 
sale,  "  Kenilworth  Castle  "  selling  for  $  500.  The  last  two  were  at 
Philadelphia  in  1876. 

Among  his  works  are,  "  The  Course  of  Empire  "  (belonging  to  the 
New  York  Historical  Society)  ;  "  Titian's  Goblet "  (painted  in  1833 
for  Lyman  Eeed,  belonging  to  J.  M.  Falconer  of  New  York)  ; 
"  Primitive  State  of  Man "  (to  E.  L.  Rogers,  Baltimore)  ;  "  Tor- 
nado in  an  American  Forest "  (to  R.  M.  Olyphant)  ;  "  The  Expul- 
sion from  Paradise  "  (to  James  Lenox)  ;  "  The  Old  Mill"  (to  Mar- 
shall O.  Roberts)  ;  "  View  on  the  Thames  "  (to  Jonathan  Sturges)  ; 
"  Catskill  at  Sunset  "  (to  A.  M.  Cozzens)  ;  "  Mount  Etna,"  "  White 
Mountains,"  and  others  (in  the  Wadsworth  Gallery  in  Hartford)  ; 
"Hunter's  Return";  "Cross  in  the  Wilderness";  "The  Dead 
Abel  "  ;  "  Home  in  the  Woods  "  ;  "  Schroon  Lake  "  ;  "  Pilgrim  en- 
tering Heaven  "  ;  "  Angel  appearing  to  the  Shepherds  "  (in  the  Bos- 
ton Athenaeum)  and  the  "  Cross  and  the  World  "  (belonging  to 
Vincent  Colyer,  exhibited  at  Philadelphia  in  1876).  Shortly  after 
his  death  sixty-three  of  his  works,  belonging  to  different  collections, 
were  exhibited  in  the  city  of  New  York.  He  painted  few  portraits. 
"  The  Life  and  Works  of  Thomas  Cole  "  was  written  by  the  Rev. 
Louis  L.  Noble  about  1850. 

"  Cole  was  one  of  the  first  landscape-painters  of  America  who  united  to  the  right 
feeling  for  nature  a  patient  and  a  calm  devotion  to  the  practical  requirements  of  art. 
There  was  a  scope  and  a  significance  in  his  maturer  efforts  previously  unattained,  at  least 
in  the  same  degree,  among  us,  and  his  example  gave  a  new  impulse  to  the  pursuit,  and 
a  higher  standard  to  popular  taste."  —  Tuckerman's  Book  of  the  Artists. 

"  '  The  Voyage  of  Life  '  is  of  simpler  and  less  elaborate  design  than  *  The  Course  of 
Empire,'  but  more  purely  imaginative.  The  conception  of  the  series  is  a  perfect  poem. 
The  child,  under  the  care  of  its  guardian  angel,  in  a  boat  heaped  with  buds  and  flowers 
floating  down  a  stream  ;  the  youth,  with  hope  in  his  gesture  and  aspect,  taking  com- 
mand of  the  helm  ;  the  mature  man,  hurried  onward  by  the  perilous  rapids  and  eddies  of 
the  river  ;  the  aged  navigator  who  has  reached  in  his  frail  and  now  idle  bark  the  mouth 
of  the  stream,  and  is  just  entering  the  great  ocean  which  lies  before  him  in  mysterious 
shadow,  —  set  before  us  the  different  stages  of  human  life,  under  images  of  which  every 
beholder  admits  the  beauty  and  deep  significance. "  — Bryant's  Oration. 

Cole,  George.  (Brit.)  Born  at  Portsmouth,  1810,  and  articled  as 
a  lad  to  a  ship-painter  in  his  native  city.    He  received  no  instruction 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  145 


in  art,  but  while  still  an  apprentice  executed  several  large  canvas 
advertisements  for  the  proprietor  of  a  traveling  circus.  His  success 
in  that  humble  line  tempted  him  to  adopt  art  of  a  higher  kind  as  a 
profession.  He  devoted  himself  for  some  years  to  animal-painting  in 
Portsmouth,  exhibiting  for  the  first  time  in  London  in  1840.  Ten 
years  later  he  was  elected  a  member  of  the  Society  of  British  Artists, 
of  which  he  is  at  present  (1878)  Vice-President.  He  has  been  also  a 
frequent  contributor  to  the  Royal  Academy  and  British  Institution. 
Among  the  better  known  of  his  early  works  are,  "  Don  Quixote  and 
Sancho  Panza,"  "  A  Welsh  Interior,"  "  Evening,"  "  A  Surrey  Har- 
vest," "  Pride  and  Humility,"  "  Loch  Lubnaig,"  etc.,  several  of  which 
have  been  engraved.  To  the  Royal  Academy,  in  1870,  he  sent  "  Gun- 
nard's  Head,  Coast  of  Cornwall  "  ;  in  1874,  "  A  Heath  Scene  "  and 
"  A  River  Scene,  Sussex  "  ;  in  1877,  "  Wheat  Harvest,  Hampshire  "  ; 
in  1878,  "  Early  Morning  on  the  Thames  at  Windsor."  To  the  Society 
of  British  Artists  he  sent,  in  1877,  "  Evening  on  the  Thames  "  and  "A 
Weir  on  the  Thames  "  ;  in  1878,  "  Thirlmere,  from  Raven  Craig  "  and 
"  Windsor  Castle,  —  Morning."   [Died,  1883.] 

Cole,  Vicat.,  R.  A.  (Brit.)  Born  in  Portsmouth,  1833.  Son 
of  George  Cole,  an  animal  and  landscape  painter,  in  whose  studio  the 
son  obtained  his  first  lessons  in  art,  studying  as  a  young  man  from 
nature  and  almost  entirely  in  the  open  air.  His  first  picture  was  sent 
to  the  British  Institution  in  1851.  In  1858  he  became  a  member  of 
the  Society  of  British  Artists,  exhibiting  annually  at  their  gallery 
until  1864.  In  1860  he  sent  to  the  Royal  Academy,  "  Under  the 
Greenwood  Tree  "  ;  in  1861,  "  Shadows  from  the  Beeches  "  ;  in  1863, 
"An  Autumn  Evening"  ;  in  1865,  "Spring"  ;  in  1866,  "Summer's 
Golden  Crown  "  ;  in  1868,  "  Evening  "  ;  in  1869,  "  Floating  down  to 
Camelot "  ;  in  1870  (when  he  was  elected  Associate),  "  Sunshine 
Showers"  ;  in  1871,  "April  Skies"  and  "A  Misty  Morning"  ;  in 
1873,  "  Summer  Rain  "  ;  in  1874,  "  The  Heart  of  Surrey  "  ;  in  1876, 
"  The  Day's  Decline  "  ;  in  1877,  "  Arundel  "  ;  in  1878,  "A  Showery 
Day  "  and  "A  Surrey  Pastoral."    [R.  A.,  1880.] 

Vicat  Cole's  "  Misty  Morning  "  and  "  Noon  "  were  at  the  American 
Centennial  Exhibition  of  1876.  "  Autumn  Gold,"  "  Summer  Rain," 
and  "  The  Day's  Decline  "  were  at  the  Paris  Exposition  of  1878. 

"  The  passages  on  the  left,  under  the  trees,  of  distant  and  subdued  light,  in  their  well- 
studied  perfection,  are  about  the  most  masterly  things  in  landscape  work  in  this  exhibi- 
tion ['  Richmond  Hill']  I  think  I  never  saw  a  large  picture  so  much  injured  by  a 

little  fault  as  this  is  by  the  white  wake  of  the  farthest  boat  on  the  river.  As  a  fact,  it  is 
impossible  ;  as  a  white  line,  it  cuts  all  to  pieces."  —  Buskin's  Notes  of  the  Academy  ,1875. 

"  '  Summer  Showers,'  by  V.  Cole,  A.  R.  A.  [R.  A.,  1877],  is  a  magnificent  landscape. 
It  shows  a  vista  of  a  full  stream,  enriched  with  foliage,  rushes,  and  floating  flowers, 
gleams  of  light  and  flying  shadows."  —  Art  Journal,  August,  1877. 

Cole,  J.  Foxcroft.    (Am.)    Born  in  the  town  of  Jay,  Me.,  1837. 
Going  to  France  for  the  purpose  of  study,  he  was  a  pupil  of  Lambinet 
from  1860  to  '63,  and  for  some  time  a  student  in  one  of  the  govern- 
7  J 


146     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ment  schools  of  Paris.  In  1867  he  became  a  pupil  of  Charles  Jacque. 
His  professional  life  has  been  spent  in  Paris  and  Boston.  At  present 
(1884)  he  is  a  resident  of  the  latter  city.  A  few  years  ago  he  sold  in 
Boston  his  pictures  and  studies,  realizing  for  them  about  $  20,000. 
One  of  his  pictures  is  in  the  possession  of  the  Union  Club,  Boston  ; 
his  "  Willow  Brook  "  belongs  to  the  Boston  Somerset  Club  ;  "  The 
Weakest  goes  to  the  Wall  "  belongs  to  Peter  S.  Brooks.  In  the  Paris 
Salon  of  1875  he  exhibited  "A  Pastoral  Scene  in  Normandy  "  ;  at  the 
Royal  Academy,  London,  in  1877,  he  had  "  A  Norman  Farm  "  and 
"  Sheep- Washing  in  Normandy."  At  the  Centennial  Exhibition  of 
1876  were  his  "Twilight,  Melrose  Highlands  "  (belonging to  J.  Sayles), 
"  Cows  Ruminating,"  and  "  Coast  Scene  in  Normandy,"  for  which  he 
received  a  medal  and  diploma. 

"  J.  Foxcroft  Cole  gives  to  landscape  its  long-needed,  poetical,  sympathetical  element, 
expressed  chiefly  in  delicate  gradations  of  color,  and  quiet  slumberous  distances,  indica- 
tive of  the  mysterious  tenderness  and  repose  of  nature."  —  Jarves,  Art  Idea. 

Coleman,  Charles  C,  A.  N.  A.  (Am.)  Bom  at  Buffalo,  N.  Y., 
1840.  At  the  age  of  nineteen  he  went  to  Europe  to  study  art,  return- 
ing at  the  outbreak  of  the  American  Civil  War,  and  serving  for  three 
years  in  the  Union  army.  He  went  again  to  Europe  in  1866,  where 
he  has  since  resided,  working  at  his  profession  in  Paris  and  Rome, 
chiefly  in  the  latter  city.  He  is  a  member  of  the  London  Art  Club, 
and  an  Associate  of  the  National  Academy  of  New  York.  Among 
his  more  important  pictures  are,  "Interior  of  Chapel  adjoining  Sala 
del  Gambia  at  Perugia,"  exhibited  at  Rome,  and  at  the  Century  Club 
and  Metropolitan  Art  Museum  of  New  York,  belonging  now  to  W.  S. 
Green  ;  "  The  Bronze  Horse  of  St.  Mark's,  Venice,"  painted  for  Lady 
Ashburton,  exhibited  in  London  and  at  the  Paris  Salon  of  1877  ;  etc. 
To  Philadelphia  in  1876  he  sent  "The  Troubadour,"  "The  Young 
Monk,"  "  Nuremberg  Towers,"  and  others,  and  to  the  Paris  Expo- 
sition of  1878  a  "  Decorative  Panel." 

Colin,  Alexandre  -  Marie.  (Fr.)  Born  at  Paris  (1798-1875). 
Chevalier  of  the  Legion  of  Honor.  Professor  of  the  School  of  Design 
at  Nimes.  Pupil  of  Girodet-Trioson.  Among  his  works  are,  "  Before 
the  Marriage5'  and  "Portrait  of  a  Child"  (1874);  "A  Drama  of  the 
Sea"  (1873);  "A  Hurricane  on  the  Borders  of  the  Sea"  (1870);  "The 
Cid  after  his  Duel  with  the  Count  of  Gormas  and  his  Father "  and 
"The  Little  Sister "  (1869);  "The  Joy  of  the  Fireside  "and  "Who 
giveth  to  the  Poor  lendeth  to  the  Lord  "  (1868);  etc. 

Colin,  Paul.  (Fr.)  Born  at  Nimes.  Medal  in  1875.  Pupil  of 
his  father  and  of  J.  P.  Laurens.  At  the  Salon  of  1877  he  exhibited 
"  The  Route  to  Yport,  by  Moonlight";  in  1876,  "  The  Moat  of  Hogues" 
and  "  The  Plateau  of  Criqueboeuf,  near  Yport";  in  1875,  "  The  Groult 
Farm,  at  Criqueboeuf,"  "  The  Little  Marauders,"  and  "  The  Forest, 
near  Barbizon." 

Collingwood,  William.    (Brit.)    Born  at  Greenwich,  1819.  He 


ARTISTS  OF  THE  NINETEENTH  CENTURY-  147 


received  his  first  instructions  in  art  from  J.  D.  Harding,  and  turned 
his  attention,  early  in  his  career,  to  water-color  painting,  and  has  been 
an  Associate  Exhibitor  at  the  Society  of  Painters  in  Water-Colors  for 
upwards  of  a  quarter  of  a  century.  Among  his  later  works  are,  "  Aber, 
North  Wales,"  "  Cloud-Caps  from  the  Summit  of  Snowdon,"  "  Sunset 
from  the  Rigi,"  "  Sunday  at  Haddon  Hall/'  "  On  the  Lake  of  Como," 
"The  Mauvais  Pas";  and  in  1878,  "On  the  Lake  of  Thun,"  "Mont 
Blanc  from  the  Col  de  Balme,"  "  Ludlow  Castle,"  "  The  Fisherman's 
Home,  Clovelly,"  and  others.  Many  of  his  pictures  are  owned  in 
Liverpool  and  its  vicinity,  where  the  greater  part  of  his  professional 
life  has  been  spent. 

Collins,  Charles  Allston.  (Brit)  Born  at  Hampstead  (1828  -1873). 
Son  of  William  Collins,  R.  A.,  whose  pupil  he  was.  He  devoted  him- 
self to  art  between  1848  and  '58,  exhibiting  at  the  Royal  Academy, 
London,  several  works  of  no  little  merit.  He  turned  his  attention, 
however,  finally  to  literature  as  a  profession,  painting  nothing  after 
1858.  He  was  a  younger  brother  of  Wilkie  Collins,  and  son-in-law 
of  Dickens,  for  whom  he  furnished  the  illustrated  title-page  of  "  Ed- 
win Drood." 

"  Mr.  Charles  Collins  had  been  bred  as  a  painter,  for  success  in  which  line  he  had 
some  rare  gifts  ;  but  inclination  and  capacity  led  him  also  to  literature,  and  after  much 
indecision  between  the  two  callings  he  took  finally  to  letters.  His  contributions  to 
'  All  the  Year  Round '  are  among  the  most  charming  of  its  detached  papers,  and  two 
stories  published  independently  showed  strength  of  wing  for  higher  flights."  —  Forstek's 
Life  of  Dickens. 

Collinson,  Robert.  (Brit.)  Born  in  Cheshire,  1832.  He  re- 
ceived his  first  instructions  in  art  at  the  Manchester  School  of  Design, 
settling  in  London  when  about  twenty  years  of  age  and  spending  the 
rest  of  his  professional  life  in  that  city.  He  was  for  some  years  Pro- 
fessor of  Painting  in  the  South  Kensington  schools.  Among  the  bet- 
ter known  of  his  paintings  may  be  mentioned,  "A  Summer  Ramble," 
"By  the  River-Side,"  "Hopes  and  Fears"  (R.  A.,  1862),  "Or- 
dered on  Foreign  Service"  (R.  A.,  1864),  "A  Money-Changer," 
"The  Leisure  Hour"  (R.  A.,  1865),  "Close  of  Day"  (1868),  "Sa- 
cred Spot"  (1869),  and  others  exhibited  at  the  British  Institution  and 
the  Royal  Academy,  where,  in  1870,  he  sent  "  The  Dawn  of  Hope"  ; 
1871,  "  Absorbed  in  Robinson  Crusoe  "  ;  1872,  "  To  Win  or  Die  "  ; 
1873,  "  The  Escape  "  ;  1874,  "  Leaves  from  Nature  " ;  1875,  "  Sunday 
Afternoon"  ;  1878,  "The  Mill  Pool"  and  "Home." 

"  c  Sunday  Afternoon,'  though  of  no  eminent  power  in  any  respect,  is  extremely  de- 
lightful to  myself  ;  and  ought,  I  think,  to  be  so  to  most  unsophisticated  persons  who 
care  for  English  rural  life."  — Ruskin's  Notes  of  the  Academy,  1875. 

Colman,  Samuel,  N.  A.  (Am.)  Born  at  Portland,  Me.,  1833. 
His  father  was  well  known  as  a  bookseller  in  New  York.  Young 
Colman  drew  from  nature  at  an  early  age,  making  sketches  of  the 
harbor  and  shipping  of  New  York  while  still  a  lad,  studying  also  the 
scenery  of  the  Hudson  River  and  Lake  George.    In  1860  he  went  to 


148     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Europe,  spending  two  years  in  study  in  Paris  and  Spain.  In  1871, 
he  again  went  abroad,  working  in  Paris  and  Kome.  In  1874  he  was 
in  Dresden,  returning  to  New  York  in  1876,  when  he  exhibited  at  the 
Snedecor  Gallery  forty-five  sketches  from  nature,  made  in  Italy,  France, 
Switzerland,  and  the  North  of  Africa.  He  was  elected  Associate  of 
the  National  Academy  in  1860  and  Academician  in  1862.  He  was 
one  of  the  founders  of  the  American  Society  of  Painters  in  Water- 
Colors,  and  its  first  president,  holding  that  office  from  1866  to  '71. 
He  was  also  one  of  the  original  members  of  the  Society  of  American 
Artists  in  1878. 

Among  Colman's  earlier  works  may  be  mentioned,  "  Two  Boats 
on  the  Hudson,"  "  Lake  George,"  "  Harbor  of  Seville,"  "  Andernach 
on  the  Khine,"  and  "  A  Street  Scene  in  Caen." 

He  sent  to  the  National  Academy  in  1870,  "  Trout  Stream  in  the 
Adirondacks "  ;  1871,  "Twilight  on  the  Western  Plains";  1876, 
"  Venetian  Fishing-Boats,"  "  Dutch  Boats  at  Low  Tide,  Antwerp," 
"Kuins  of  the  Mosque  of  Mansowra  the  Victorious";  1877,  "A 
Sunny  Afternoon  in  the  Port  of  Algiers,"  and  "  Merchants  en  route 
between  the  Tell  and  the  Desert,  Algeria."  In  1878  he  contributed 
"  Fluellen,  Lake  Lucerne." 

To  the  Water-Color  Exhibition  he  contributed,  in  1870,  "  Cordova, 
Spain";  1871,  "A  Spanish  Bull-Fight";  1876,  "Eome,  looking 
down  the  Tiber";  1877,  "  Evening,  Venice,"  "Afternoon,  Algiers," 
"  Venetian  Fishing-Boats,"  "  Lincoln,  England,"  and  "  Durham 
Cathedral,  England "  ;  1878,  "The  Cathedral  at  Quimper,  Brittany," 
and  others. 

To  the  Paris  Exposition  of  1878  he  sent  "  Emigrant  Train  crossing 
the  Ford  "  and  "  On  the  Guadalquivir,"  in  oil,  and  "  The  Cathedral  at 
Quimper,"  in  water-color. 

"  We  regard  this  picture  ['  The  Rock  of  Gibraltar ']  as  a  splendid  success.  While  it 
does  not  lack  in  the  poetical  treatment  of  its  great  competitors  [Turner  and  Achen- 
bachj,  it  has  also  all  the  fidelity  to  the  actual  that  we  could  desire.  The  town  and  craft 
at  the  base  of  the  Rock,  the  fortifications,  the  geological  formations,  the  incidents  of  the 
busy  neighboring  shore,  from  which  it  is  seen,  are  all  carefully  rendered."  —  Tuck- 
ekman's  Book  of  the  Artists. 

"  There  is  nothing  monotonous  about  Mr.  Colman's  style  ;  his  work  is  always  pleasing, 
varied,  and  will  be  ever  welcome  in  our  exhibitions."  —  Art  Journal,  September,  1876. 

"  Mr.  S.  Colman  sent  his  '  Merchants  of  Laghouat  en  route  between  Tell  and  the 
Desert,  Algeria,'  which  is  characterized  by  the  agreeable  manner  this  artist  has  been 
pleased  to  adopt.  There  are  some  manners,  or  methods  of  treatment  in  art,  that  are  so 
intrinsically  pleasing  that  they  appear  to  be  exempt  from  the  criticism  that  usually  de- 
preciates pronounced  formalities  of  style  ;  and  Mr.  Colman's  manner  is  one  of  these.  It 
is  attractive,  thorough  in  its  technical  method,  pleasing  in  color,  and  in  every  other  re- 
spect than  that  of  composition,  in  which  it  is  perhaps  too  formal,  it  is  admirable  and 
artistic.  A  little  seeming  negligence  or  unstudied  effect  in  composition  would  produce 
a  more  agreeable  result ;  and  yet  this  very  thoroughness  of  discipline  in  Mr.  Colman's 
work  offers  a  contrast  to  the  not  unusual  weakness  of  our  art  in  these  particulars."  — 
Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of 1876. 

Colyer,  Vincent,  A.  N.  A.   (Am.)   Born  at  Bloomingdale,  N.  Y.f 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  149 


1825.  He  was  educated  in  New  York,  and  spent  a  few  years  in  a 
drug-store  in  that  city,  evincing  as  a  lad  a  taste  for  art,  which  he 
finally  decided  to  adopt  as  a  profession,  beginning  his  regular  studies 
in  1844,  under  John  R.  Smith,  and  remaining  with  him  for  four 
years.  He  was  also  a  pupil  in  the  Life  and  Antique  School  of  the  Na- 
tional Academy.  In  1849  he  was  elected  an  Associate  of  the  National 
Academy,  and  from  that  time  until  the  breaking  out  of  the  American 
Civil  War  he  practiced  in  New  York  with  considerable  success,  his 
crayon  portraits  bringing  large  prices.  He  was  one  of  the  organizers 
of  the  Artists'  Fund  Society,  its  first  secretary  and  acting  president, 
its  initial  meeting  being  held  in  his  house.  During  the  war  he  de- 
voted himself  to  the  care  of  the  sick  and  wounded,  was  an  active 
member  of  the  Christian  Commission  and  Indian  Commission,  resum- 
ing, when  peace  was  restored,  the  active  practice  of  his  profession  in 
Darien,  Ct.,  where  he  still  resides.  He  enlarged  some  of  the  many 
water-color  sketches  of  Western  scenery  made  during  his  excursion 
through  the  Indian  country,  and  has  been  somewhat  prominent  of 
late  years  in  the  political  life  of  his  adopted  State,  Connecticut,  al- 
though not  altogether  neglecting  his  painting.  To  the  Exhibition 
of  the  National  Academy  in  1875  he  sent  "  Columbia  River  "and 
"  Johnson  Straits,  British  Columbia"  (the  latter  belonging  to  John  N. 
Stearns  of  New  York)  ;  in  1876,  "  Passing  Shower,  Columbia  River" 
and  portrait  of  George  H.  Story  (belonging  to  the  National  Academy). 
His  "  Contraband  "  is  in  the  possession  of  Thomas  Kensett  of  Balti- 
more ;  and  "  The  Home  of  the  Yackamas,  Oregon,"  of  Horatio  Bige- 
low,  New  York. 

To  the  Centennial  Exhibition  at  Philadelphia  in  1876  he  contrib- 
uted "  Cascade  Mountains  "  and  "  Pueblo,  Indian  Village." 

Coman,  Charlotte  B.  {Am.)  A  native  of  Waterville,  N.  Y. 
She  studied  in  America  under  James  R.  Brevoort.  Living  for  some 
years  in  Paris,  she  has  studied  the  works  of  Corot,  Daubigny,  and 
other  artists  of  the  French  school,  devoting  herself  to  landscapes  after 
the  manner  of  Corot.  Her  best  pictures  are  owned  in  Boston,  New 
York,  and  Paris.  She  sent  to  the  Exhibition  at  Philadelphia  in  1876, 
"  A  French  Village  "  ;  to  the  Paris  Exposition  of  1878,  "  Near  Fon- 
tainebleau,"  belonging  to  Dr.  E.  W.  Hitchcock.  Her  "  Sunset  at  the 
Seaside  in  France  "  was  on  exhibition  in  Boston  in  1877,  and  "  On 
the  Borders  of  the  Marne  "  and  "  Peasant  Home  in  Normandy  "  at 
the  Mechanics'  Fair  in  1878. 

Comerre,  Le*on-Francois.  (Fr.)  Born  at  Trelon.  Medal  and 
prix  de  Rome,  1875.  Pupil  of  Cabanel.  Medal  at  Philadelphia,  where 
he  exhibited  "  Cassandra,"  the  same  picture  which  had  taken  the 
Paris  prize  the  preceding  year.  At  the  Salon  of  1878  were  his 
"  Juno  "  and  "  Jezebel  devoured  by  Dogs." 

Compte-Calix,  Francois  Claudius.  (Fr.)  Born  at  Lyons, 
1813.    Medals  in  1844,  '57,  '59,  and  '63.    Pupil  of  the  School  of 


150     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Fine  Arts  at  Lyons.  At  the  Salon  of  1877  he  exhibited  "A  Wed- 
ding in  La  Bresse  "  and  "  II  m'a  dit  .  .  .  .  "  ;  in  1876,  "  Venice  in  the 
Sixteenth  Century  "  and  "  Pas  le  plus  petit  frere  "  ;  in  1875,  "  A 
Path  which  leads  a  long  Way,"  "  Ou  diable  vont-ils  1 "  and  "  Good 
Night,  Neighbor";  in  1874,  "Ne  le  reveillez  pas!"  "Adam  and 
Eve,"  and  a  "  Souvenir  of  Cannes."  His  picture  of  "  Killing  the 
Snake  "  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston.  At 
the  Salon  of  1878  he  exhibited  the  "Search  for  the  Truth  "and 
"  Conte-moi  done  ca  ? "     [Died,  1880.] 

"  Compte-Calix  paints  very  freely  and  lightly,  with  a  luminous  quality  of  touch  seldom 
found  in  any  but  the  most  accomplished  artists.  He  is  far  beyond  that  tightness  of 
manner  and  hardness  of  outline  which  most  young  painters  have  to  contend  against, 
and  which  many  older  ones  do  not  entirely  overcome.  His  composition  is  often  uncom- 
monly graceful,  especially  when  his  backgrounds  consist  of  wooded  landscape,  and  he 
has  an  acute  perception  of  the  wealth  of  magnificent  foliage.  The  world  he  most  enjoys 
is  a  sort  of  modern  paradise  about  some  rich  man's  house,  where  handsome  and  well- 
dressed  young  women  disport  under  very  well  developed  trees.  Indeed,  the  world  of 
Compte-Calix  is  a  prosperous,  well-developed  world  altogether,  a  place  for  people  who 
are  very  healthy  and  very  merry,  and  where  the  trees  themselves  enjoy  long  and  peace- 
ful summers,  and  round  themselves  into  great  orbs  of  innumerable  leaves."  —  Philip 
Gilbert  Hamekton's  Painting  in  France. 

Comte,  Pierre-Charles.  (Fr.)  Born  at  Lyons,  about  1815. 
Chevalier  of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of 
Robert-Fleury,  and  like  him.  a  painter  of  historical  genre  subjects. 
His  picture  of  "  Henry  III.  and  the  Duke  of  Guise  "  (1855)  is  at  the 
Luxembourg.  At  the  Salon  of  1877  he  exhibited  "The  Cards"  and 
"  The  Niece  of  Don  Quixote  "  ;  in  1876,  "  Winter"  ;  in  1874,  "  Carps 
at  Fontainebleau,  Sixteenth  Century  ";  in  1870,  "  Marie  Touchet "  ;  in 
1869,  "  Gypsies  exhibiting  Dancing  Pigs  to  Louis  XI.  when  111"  and 
"  The  Mirror"  ;  in  1867,  "Henry  III.  at  the  Time  of  the  Murder  of  the 
Duke  of  Guise"  and  "  A  Body-Guard  of  the  Seventeenth  Century  "  ;  in 
1866,  "  Charles  V.  visiting  the  Chateau  of  Ghent  after  his  Abdica- 
tion "  and  "  A  Young  Hollandaise  with  her  Embroidery  "  ;  etc.  At 
the  Strousberg  sale,  Paris,  1874,  "Louis  XI.  Sick"  sold  for  £  324. 
At  the  Salon  of  1878  he  exhibited  "  Dante."  In  the  Corcoran  Gal- 
lery, Washington,  is  "  A  Scene  at  Fontainebleau,  —  Costume  of  Louis 
XL"  (1874),  by  Comte. 

Conconi,  Maur.  (Ital.)  Born  at  Milan  about  1815.  The  grand 
prize  at  Venice  and  Bologna,  and  several  medals  at  Milan.  Pupil  of 
the  Academy  of  Milan  under  Sanguinetti.  Painted  historical  sub- 
jects. Exhibited  at  Paris  in  1855  "The  Youth  of  Columbus"  and 
"  The  Surprised  Bathers,"  which  have  been  frequently  commended. 

Connelly,  Pierce  Francis.  (Am.)  Born  in  one  of  the  Southern 
cities  about  1840.  He  was  carried  to  England  as  a  child,  where  he 
received  a  finished  education.  He  developed  a  great  love  for  art  at 
an  early  age,  with  so  much  artistic  ability  that  he  was  put  under  the 
best  teachers  in  Paris  for  drawing  and  painting,  and  was  a  medalist 
in  1'^cole  des  Beaux- Arts.    Later  he  was  sent  to  Rome  to  study  the 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  151 


old  masters.  At  the  age  of  twenty  he  became  enamored  of  sculp- 
ture in  the  studio  of  Hiram  Powers,  working  for  some  years  in  Flor- 
ence at  that  profession.  His  genius  had  full  recognition  in  England, 
where  he  made  a  full-length  statue  of  the  Duchess  of  Northumber- 
land, a  bust  of  the  Princess  Louise  (ordered  by  the  Queen),  busts  of 
the  Duke  of  Northumberland  and  Lady  Percy  in  Alnwick  Castle, 
etc.  A  replica  of  his  bust  of  the  Marchioness  of  Lome  is  in  the 
Inner  Temple,  London.  Among  Connelly's  works  familiar  to  Ameri- 
cans, are  his  "  Thetis  "  (purchased  for  the  New  York  Museum  of  Fine 
Arts),  "  St.  Martin  and  the  Beggar "  (an  equestrian  group,  belong- 
ing to  Mrs.  T.  Bigelow  Lawrence),  "  Ophelia,"  "  Honor  arresting  the 
Triumph  of  Death,"  and  busts  of  the  Countess  Von  Rosen,  Mr.  Lip- 
pincott,  Mr.  McKean,  and  others  in  Philadelphia.  Besides  several  of 
these,  he  sent  to  the  Centennial  Exhibition  of  1876,  "  Queen  Phi- 
lippa,"  Lady  Clare,"  "  Diana  transforming  Actaeon,"  "  Viola,"  and 
"  The  Thread  of  Life."  He  left  Florence  in  1876,  and  after  spending 
Borne  months  in  America  went  to  New  Zealand.  Concerning  his  ad- 
ventures there,  we  quote  from  a  private  letter  :  — 

1 '  Amidst  that  beautiful  scenery  Connelly's  old  love  of  painting,  what  he  always 
called  '  play -work,'  revived,  and  happily  he  has  been  so  fortunate  as  to  make  many  rare 
and  beautiful  pictures  that  have  enlisted  great  praise  from  all  who  saw  them  when  ex- 
hibited in  Aukland,  in  1877,  while  the  Aukland  papers  could  not  sufficiently  express 
their  surprise  and  admiration  of  Connelly's  extraordinary  adventures  and  successful 
feats  as  an  explorer  of  mountains  before  entirely  unknown  to  Europeans.  He  made 
many  sketches  of  the  craters  and  lake  country,  besides  studies  of  the  wonderful 
glaciers,  and  probably  has  done  a  greater  service  to  science  than  he  is  aware  of." 

"  In  Rome  Connelly  has  gained  reputation  in  public  estimation  by  his  well-executed 
portrait-busts,  and  a  few  ideal  works,  exhibiting  both  force  and  feeling. "  —  Tucker- 
man's  Book  of  the  Artists,  1867. 

"  Connelly's  allegorical  group  of  '  Death  and  Honor,'  consisting  of  five  figures,  and  a 
horse,  in  vigorous  action,  on  which  Death  sits  reveling  in  slaughter,  if  not  what  a  nice 
aesthetic  taste  would  require  in  its  treatment,  is  a  profound  idea,  harmoniously  put  into 
plastic  form,  and  calculated  to  incite  the  ambition  of  other  of  our  younger  sculptors."  — 
Jarves,  Art  Thoughts. 

"  The  '  Ophelia,'  and,  indeed,  most  of  Connelly's  other  performances,  represented 

distinctly  modern  and  romantic  ideas  with  regard  to  the  aims  of  sculpture  The 

adverse  criticism  that  must  be  made  against  this  statue  is,  that  it  does  not  strongly  sug- 
gest the  madness  of  Ophelia.  Apart  from  this,  however,  it  is  distinguished  by  a  sin- 
gular smoothness  and  grace  in  the  expression  of  the  face  and  the  pose  of  the  figure."  — 
Great  American  Sculptors. 

Constant,  Benjamin.  (Fr.)  Born  at  Paris,  1845.  Medals,  1875 
and  76.  Pupil  of  Cabanel.  At  the  Salon  of  1877  he  exhibited  por- 
traits ;  in  1876,  "  The  Entrance  of  Mohammed  II.  into  Constanti- 
nople, May  29,  1453  "  and  a  portrait  of  Emmanuel  Arago  ;  in  1875, 
"Prisoners  of  Morocco,"  "Women  of  the  Harem,"  and  portrait  of 
Dr.  N.  G.  de  M.  Before  these  works,  Constant  had  frequently  ex- 
hibited at  the  Salons,  and  his  "Hamlet,"  of  1869,  was  bought  by 
the  government.  But  it  is  evident  that  his  real  dramatic  career  only 
commenced  when,  leaving  l'l^cole  des  Beaux- Arts,  and  all  hope  of  the 
prix  de  Rome,  he  visited  the  countries  which  have  inspired  his  later 


152     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


works,  —  Spain,  Morocco,  etc.  At  the  Salon  of  1878  he  exhibited, 
"  Thirst,  —  Prisoners  of  Morocco  "  and  "  The  Harem,  Morocco."  The 
first  has  been  purchased  by  Mr.  Schaus  of  New  York.  "  It  is  a 
white  waste  beneath  the  pitiless  glare  of  an  African  sun.  A  slender 
runlet  of  water  crosses  the  sands  in  the  foreground.  An  Arab 
horseman  pauses  there  to  let  his  prisoners,  three  half-naked  Moors, 
drink  from  this  scanty  rivulet.  In  their  eagerness  they  have  fallen 
prostrate  on  the  ground.  One  man  laps  up  the  water  with  frenzied 
haste,  another  has  plunged  his  face  in  it,  a  third  fills  his  bottle, 
while  their  captor  looks  on  impassive.  Another  Arab,  crouching  in 
the  background,  with  his  rifle  across  his  knees,  watches  the  move- 
ments of  the  prisoners." 

Conti,  Tito.  Of  this  artist  no  satisfactory  account  has  been  ob- 
tained. When  in  Florence  it  was  a  pleasure  to  visit  his  studio,  and 
see  at  once  the  painting  and  the  article  painted.  The  positive  exact- 
ness of  his  representations  is  startling.  All  who  admire  this  Meis- 
sonier-like  work  must  rank  Conti  very  high. 

At  the  Munich  Exposition  of  1870  he  exhibited  "  Dante  and  his 
Friends."  At  the  Glasgow  Fine- Art  Loan  Exhibition  of  1878  was 
seen  a  picture,  belonging  to  J.  Duncan,  Esq.,  called  "  After  Dinner." 
"  Interior  of  a  richly  furnished  room.  A  man,  in  a  light-green  coat 
and  light-colored  knee-breeches,  sits  in  a  red  chair  and  leans  upon  a 
table  with  tapestry  cover,  while  he  smokes  a  long  clay  pipe  and  reads 
a  book.    On  the  table  a  glass  of  wine  and  a  silver  jug." 

[No  response  to  circular.] 

Cooke,  Edward  William,  R.  A.  {Brit.)  Born  in  London,  1811. 
Son  of  a  well-known  English  engraver.  His  first  professional  work 
was  for  book  illustrations  and  a  series  of  etchings  of  river  and  coast 
scenery.  Has  devoted  himself  to  marine-painting,  executing  his  first 
picture  in  oil  in  1832.  Has  sketched  and  painted  in  Holland,  France, 
and  Italy.  He  was  elected  Associate  of  the  Royal  Academy  in  1851, 
and  Academician  in  1864,  when  he  exhibited  "  Scheveling  Pincks 
running  to  Anchor  off  Yarmouth,"  his  diploma  work.  In  1866  he 
exhibited  "Dutch  Boats  on  the  Dollart  Zee";  1870,  "A  Calm  Day 
on  the  Scheldt";  1871,  "A  Bit  of  English  Coast"  ;  1872,  "Hast- 
ings Luggers  coming  ashore  in  a  Breeze";  1876,  "A  Zuyder-Zee 
Fishing-Haven  "  ;  1877,  "  A  Bit  of  Bonchurch  in  the  Olden  Time  "  ; 
1878,  "A  Dutch  Galliot  aground  on  a  Sand-Bank"  and  "Fishing 
Lugger  coming  ashore  in  a  Gale." 

Of  Cooke's  earlier  works,  his  "  Dutch  Boats  in  a  Calm,"  exhibited 
at  the  British  Institute  in  1844,  and  his  "  Boat-House"  (both  in  the 
Vernon  Collection),  are  now  in  the  National  Gallery,  London.  His 
"Brighton  Sands,"  "Lobster-Pots,"  "Portsmouth  Harbor,"  and 
others,  are  in  the  Sheepshanks  Collection.  His  "Goodwin  Light- 
ship" was  at  the  Centennial  Exhibition  of  1876,  and  belongs  to 
Thomas  Brassey,  Esq.,  M.  P.    [Died,  1880.] 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  153 


"Cooke's  most  remarkable  contribution  is  the  fine  view  of  'Catalan  Bay,  Gibraltar ' 
[B.  A.,  1863],  which,  for  amount  of  natural  detail  and  for  careful  drawing,  probably  has 

no  equal  in  this  year's  exhibition  The  conchoidal  ripplings  of  this  sand  cataract, 

with  the  varied  features  of  the  cliff  and  the  magnificent  masses  of  rock,  are  rendered  with 
Mr.  Cooke's  well-known  and  almost  scientific  accuracy."  —  Palg rave's  Essays  on  Art, 
1863. 

"  I  may  direct  attention  to  the  exquisite  skill  of  delineation  with  which  Mr.  Cooke  has 
finished  the  group  of  palm-trees  in  his  wonderful  study  of  sunset  at  Denderah.  The 
sacrifice  of  color  in  shadow  for  the  sake  of  brilliancy  in  light,  essentially  a  principle  of 
Holland  as  opposed  to  Venice,  is,  in  a  great  degree,  redeemed  in  this  picture  by  the 
extreme  care  with  which  the  relations  of  light  are  observed  on  the  terms  conceded."  — 
Buskin's  Notes  of  the  Academy,  1875. 

Coomans,  Pierre-Olivier-Joseph.  (Belgian.)  Born  at  Brus- 
sels, 1816.  Pupil  of  Van  Hasselaere  at  Ghent,  De  Keyser  at  Ant- 
werp, and  of  Baron  "Wappers.  He  passed  several  years  in  Africa, 
where  he  went  with  the  French  army  in  order  to  study  the  country 
and  make  sketches.  The  result  of  this  experience  was  shown  in  his 
pictures  of  "  The  Deluge,"  "  Landscape  in  the  Province  of  Constan- 
tine,"  "  Emigration  of  Arab  Tribes,"  "  Algerian  Dancing- Girls,"  etc. 
To  his  first  period  also  belongs  his  "  Battle  of  Chalons-sur-Marne." 
Coomans  first  exhibited  his  pictures  in  Paris  in  1857,  where  he  sent 
"  The  Massacre  of  the  Teucri  and  the  Usipetes  by  the  Bomans  "  and 
the  "  Feast  of  the  Philistines."  The  latter  took  medals  at  The  Hague 
and  at  Metz.  In  1857  he  went  to  Italy,  and  from  this  time  the  charac- 
ter of  his  subjects  changed.  The  influence  of  Pompeii  and  Hercula- 
neum  overpowered  him,  and  ancient  classic  life  was  his  constant  study. 
Since  then  he  has  exhibited  "  The  Last  Days  of  Happiness  in  Pom- 
peii" (1863),  bought  by  Napoleon  III. ;  "  The  Delinquent "  and  "  The 
First  Step,"  both  Pompeian  scenes  ;  "  The  Game  of  Orca,"  "  Phryne," 
"  Glycera  "  etc.  In  1877  he  exhibited  at  the  Paris  Salon,  "  A  Peril- 
ous Passage  "  and  "  Un  pas  echevele  "  ;  in  1876,  "  The  Selfish  Kiss  "  ; 
in  1873,  "  The  Loving  Billet-doux  "  ;  in  1872,  "  L'escarpolette  "  ; 
in  1870,  "  The  Scarecrow"  ;  in  1869,  "  The  Last  Hour  of  Pompeii,  — 
House  of  the  Poet "  ;  in  1867,  "  Lucretia."  Among  his  other  subjects 
are,  "  The  Roman  Maiden "  (chromo  by  Prang)  and  "  The  Toilet." 
At  the  Latham  sale,  1878,  "  The  Envied  Jewels  "  (18  by  14)  sold  for 
$  290  ;  "  An  Interested  Kiss  "  (27  by  21),  for  $  850  ;  and  "  Pythagoras 
lecturing  before  La  Belle  Theane  "  (22  by  32),  $  1,200.  At  the  Salon 
of  1878  he  exhibited  a  portrait  of  himself,  and  at  the  Exposition  of 
the  same  year,  "  Danseuses  gaditanes  "  and  "  Le  point  de  Venus." 

Cooper,  Abraham,  R.  A.  (Brit.)  (1786-1869.)  A  self-taught 
artist.  He  turned  his  attention  at  an  early  age  to  the  drawing  and 
painting  of  horses,  in  which  he  became  wonderfully  proficient.  His 
first  picture,  purchased  by  the  then  Duke  of  Marlborough,  was  at  the 
British  Institute  in  1814.  He  was  elected  an  Associate  of  the  Royal 
Academy  in  1817  upon  the  exhibition  of  his  first  picture  on  its  walls, 
"  The  Battle  of  Marston  Moor."  This  is  said  to  have  been  the  only 
occasion  of  such  a  compliment  being  conferred  on  any  artist.  He  was 
7* 


154     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


made  Royal  Academician  in  1820,  and  for  half  a  century  was  a  con- 
stant contributor  to  its  exhibitions.  Among  his  works  may  be  men- 
tioned, "The  Battle  of  Bosworth  Field,"  "Rupert's  Standard," 
"Bothwell's  Seizure  of  Mary  Queen  of  Scots,"  "The  Battle  of 
Naseby,"  "  The  Dead  Trooper,"  "  Waterloo,"  and  "  Hawking  in  the 
Olden  Time."    Many  of  these  have  been  engraved. 

"As  a  painter  of  battle-scenes,  and  especially  of  those  fought  in  long-past  years,  and 
where  horsemen  played  a  foremost  part,  Mr.  Cooper's  pictures  stand  pre-eminent  in 

our  school,  as  do  those  of  Horace  Vernet  in  the  French  school  His  knowledge  of 

horse-flesh  was,  from  his  early  training,  profound  ;  and  he  had  so  well  instructed  him- 
self in  English  history,  and  had  acquired  such  a  knowledge  of  the  arms  and  armor  of 
bygone  times,  that  his  works  may  be  regarded  as  truthful  representations  in  respect  to 
both."  —  Art  Journal,  February,  1869. 

Cooper,  Thomas  S.,  R.  A.  (Brit.)  Born,  1803.  Displayed  a 
decided  taste  for  art  at  an  early  age,  receiving  a  few  lessons  in  Canter- 
bury, his  native  town,  and  beginning  there  his  professional  career  as  a 
scene-painter,  about  1820.  In  1823  he  went  to  London,  studying  in 
the  British  Museum,  and  later  in  the  schools  of  the  Royal  Academy. 
He  was  forced  to  return  to  Canterbury  in  1824,  where  he  taught  until 
his  departure  for  France  in  1827.  He  finally  settled  in  Brussels, 
where  he  remained  for  some  years,  and  gained  much  by  his  intercourse 
with  Verboeckh oven,  although  he  was  not  a  pupil  of  that  artist.  His  first 
picture  exhibited  in  England  was  at  the  Gallery  of  British  Artists,  in 
1833.  He  contributed  later  to  the  Royal  Academy,  and  was  made  an 
Associate  in  1845  and  Academician  in  1867.  Among  his  works  there 
exhibited  may  be  mentioned,  "  Watering  at  Evening,"  "  Reposing,"  and 
"  Going  to  Pasture."  In  1867  he  contributed  "  Snowed  Up  ";  in  1869, 
"  Mi  Iking- Time  in  the  Meadows  "  (his  diploma  work)  ;  in  1870,  "A 
Passing  Shower  "  ;  in  1872,  "  Children  of  the  Mist "  ;  in  1873,  "  The 
Monarch  of  the  Meadows  ";  in  1874,  "  There 's  no  Place  like  Home  "; 
in  1875,  "God's  Acre";  in  1876,  "Maternal  Affection";  in  1877,  "A 
Cool  Retreat"  and  "  My  Boy";  in  1878,  "A  Sedgy  Brook  in  the 
Meadows,"  "A  Summer's  Sunny  Evening,"  and  many  more.  His 
"  Farm- Yard,  —  Milking-Time  "  (R.  A.,  1834)  and  his  "  Cattle,  —  Early 
Morning  "  (R.  A.,  1847),  both  in  the  Vernon  Collection,  are  now  in 
the  British  National  Gallery.  He  sent  to  the  Paris  Exposition  oi 
1878,  "On  a  Dairy  Farm,  East  Kent"  and  "Amongst  the  Rocks,"  in 
oil,  and  "  The  Monarch  of  the  Meadows,"  in  water-colors. 

Cope,  Charles  West,  R.  A.  (Brit.)  Born,  1811.  Son  of  a  land- 
scape-painter, Charles  Cope,  from  whom  he  inherited  his  artistic 
talents  and  received  his  first  lessons  in  art.  He  was  also  a  pupil  of 
the  Royal  Academy  at  the  age  of  eighteen,  studying  and  sketching 
later  in  Italy.  His  first  picture,  an  Italian  landscape,  was  exhibited 
at  the  Royal  Academy  in  1831.  In  1843  he  received  a  prize  of  £  300 
for  a  cartoon,  "  Trial  by  Jury."  He  was  elected  Associate  of  the  Royal 
Academy  the  same  year,  and  Academician  in  1848.  He  is  the  author 
of  a  number  of  the  frescos'  in  the  Houses  of  Parliament,  "  Burial  oi 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  155 


Charles  I.,"  "  Embarkation  of  the  Pilgrim  Fathers,"  "  Prince  Henry's 
Submission  to  the  Law,"  "  The  Parting  of  Lord  and  Lady  Russell," 
"  The  Train- Bands  leaving  London  to  raise  the  Siege  of  Gloucester," 
etc.  Among  his  earlier  works  are,  "The  Poor-Law  Guardian,"  painted 
in  1841 ;  "Cotter's  Saturday  Night,"  in  1843;  "The  Last  Days  of  Wolsey 
(belonging  to  Prince  Albert),  in  1848;  "Milton's  Dream,"  in  1850; 
"  The  Children  of  Charles  I.,"  in  1855  ;  "Evening  Prayer,"  in  1860  ; 
"  Two  Mothers,"  in  1862  ;  "  Spring  Flood,"  in  1865.  In  1867  he  sent 
to  the  Royal  Academy,  "  Shylock  and  Jessica";  in  1868,  "The  Dis- 
ciples at  Emmaus  "  ;  in  1873,'  "  Yes  or  No  1 " ;  in  1874,  "  Taming  of  the 
Shrew";  in  1875,  "Anne  Page  and  Slender";  in  1876,  "Selecting 
Pictures  for  the  Royal  Academy  Exhibition,"  a  portrait  group,  the 
property  now  of  the  Academy.  In  1877  he  exhibited  "  Springtime  " 
and  "Bianca's  Lovers";  in  1878,  "Lieutenant  Cameron's  Welcome 
Home."  His  "  Selecting  Pictures  for  the  Exhibition  "  and  "  Maiden 
Strife"  were  at  Paris  in  1878.  Eight  of  his  pictures,  all  of  them 
painted  during  the  first  twenty  years  of  his  career,  are  in  the  Sheep- 
shanks Collection.  The  etchings  of  this  artist  are  highly  regarded,  as 
the  following  extract  will  show  :  — ■ 

"  This  is  a  true  etching,  and  one  of  the  manliest  pieces  of  work  ever  executed  in 
England  ['  The  Life  School,'  R.  A.,  1867].  The  subject  is  a  remarkably  good  one,  because 
it  composes  of  itself  so  naturally,  and  because  the  effect  of  the  chiaroscuro  is  so  power- 
ful. Of  all  recent  attempts  to  render  the  naked  figure  in  pure  etching  the  model  here  is 
the  most  successful.  It  is  frank  and  genuine  etcher's  work."  —  Hamerton's  Etching 
'  and  Etchers. 

Copeland,  Alfred  Bryant.  (Am.)  Native  of  Boston.  He  lived 
for  some  years  in  Antwerp,  where  he  was  a  pupil  of  the  Royal  Acad- 
emy, and  has  at  present  (1884)  a  studio  in  Paris,  working  in  black 
and  white  as  well  as  in  oils.  He  was  at  one  time  Art  Professor  in  the 
University  of  St.  Louis.  A  few  years  ago  Copeland  took  to  Boston  a 
large  number  of  original  pictures  and  copies  from  Antwerp,  which 
were  exhibited  at  the  Art  Club,  the  former  class  bringing  good  prices* 
A  collection  of  street  scenes  from  Paris  were  highly  regarded  in  Bos- 
ton in  1878.  He  sent  to  the  Paris  Salon  of  1877  a  "  Church  Inte- 
rior at  Antwerp"  ;  in  1878  he  exhibited  "Interior  of  the  Church  of 
St.  Jacques." 

To  the  Paris  Exposition  of  1878  he  contributed  a  drawing  entitled 
"  Outward  Bound." 

Corbould,  Edward  H.  (Brit)  Born  in  London,  1815.  Eldest 
son  and  pupil  of  Henry  Corbould,  a  well-known  British  landscape 
and  miniature  painter,  who  died  in  1844.  The  son  devoted  himself 
particularly  to  water-colors,  becoming  a  member  of  the  Institute  of 
Painters  in  Water-Colors  in  1837  or  '38,  exhibiting  frequently  at  its 
gallery  and  at  the  Royal  Academy  since  that  time.  He  gained  the 
gold  medal  of  the  Society  of  Arts  in  two  successive  seasons,  while  still 
a  young  man.  He  first  exhibited  at  the  Royal  Academy,  in  1837,"  The 


156     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Race  between  Atrides  and  Antilochus."  Among  his  early  works  may 
be  noted  "  The  Woman  taken  in  Adultery  "  (1842),  purchased  by  Prince 
Albert  and  now  in  possession  of  the  Queen,  "  The  Canterbury  Pil- 
grim," scenes  from  "  The  Faerie  Queene,"  etc.  He  was  at  one  time 
engaged  as  instructor  of  drawing  and  painting  to  the  children  of  the 
Queen.  At  the  Institute  of  Painters  in  Water-Colors  he  exhibited,  in 
1872,  "  Enid's  Dream  "  ;  in  1873,  "  Heloise  "  ;  and  in  1878,  "  Iris." 
He  sent  to  the  Royal  Academy  in  1870,  "  The  Marriage  of  Nigel  Bruce 
and  Agnes  of  Buchan,"  painted  for  the  Queen,  and  "  Apart  from 
the  Rest  "  ;  in  1871,  "  Lady  Godiva  "  ;  in  1874,  "  Canterbury  Pil- 
grims." 

Cordier,  Henri-Joseph-Charles.  (Fr.)  Born  at  Cambrai,  1827. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  l'^cole  des  Beaux- Arts, 
Fauginet,  and  Rude.  Many  of  this  sculptor's  works  are  portrait  busts. 
He  has  made  a  large  number  of  important  heads,  illustrative  of  the 
characteristics  of  different  races,  and  for  this  purpose  has  traveled  in 
the  East.  Cordier  made  the  statue  of  Marshal  Gerard  for  the  city 
of  Verdun.  In  1877  he  exhibited  at  the  Salon,  "  A  Nymph  and  Tri- 
ton" (bronze  group)  and  "Psyche"  (marble  statuette);  in  1876, 
"  Christopher  Columbus,"  reduction  of  a  monument  erected  in  Mex- 
ico ;  in  1875,  "La  danse  de  l'abeille  "  (marble  statue)  ;  in  1874,  "A 
Priestess  of  Isis  playing  the  Harp  "  (bronze  enamel  statue)  ;  "  Em- 
manuel Escandon  (marble  statue),  for  the  city  of  Orizava,  Mexico  ; 
"  At  Twenty  Years  "  ;  etc.  He  exhibited  at  Philadelphia  "  An  Ara- 
bian Woman,"  "  Christopher  Columbus,"  and  a  "  Fellah  Girl  "  (all  in 
bronze),  and  received  a  medal.  At  the  Luxembourg  there  is  a  bust 
of  a  peasant- woman  by  Cordier,  composed  of  various  marbles. 

Cordonnier,  Alphonse  A.  (Fr.)  Born  at  Madeleine-lez-Lille. 
Medals  in  1875  and  '76.  Pupil  of  A.  Dumont.  In  1876  he  ex- 
hibited "  Medea,"  a  group  in  plaster  ;  in  1875,  "  The  Awakening,"  a 
statue,  plaster. 

Cormon,  Fernand.  (Fr.)  Born  at  Paris.  Medals  in  1870  and 
'72,  and  the  prix  du  Salon  in  1875.  Pupil  of  Cabanel,  Portaels,  and 
Fromentin.  At  the  Salon  of  1877  he  exhibited  "  The  Raising  of  the 
Daughter  of  Jairus "  and  a  portrait  of  Carrier-Belleuse  ;  in  1875, 
"  The  Death  of  Ravana  "  (bought  by  the  Ministry  of  the  Fine  Arts), 
«  A  Woman  of  Java,"  and  a  portrait  of  Mile.  E.  M. 

Cornelius,  Peter  von.  (Ger.)  Born  in  Diisseldorf  (1787  - 1866). 
Honorary  Member  of  the  French  Institute.  Director  of  the  Academy 
of  Diisseldorf,  and  later  of  that  of  Berlin.  His  father  was  keeper  of  the 
Diisseldorf  Gallery,  and  of  the  works  then  the  pride  of  that  city,  and 
now  in  the  Munich  Pinakothek.  As  a  boy  Cornelius  had  great  literary 
tastes,  and  was  fond  to  excess  of  Goethe,  Tieck,  Novalis,  and  the  Schle- 
gels.  He  was  but  nineteen  when,  without  an  academic  course,  or,  in 
truth,  anything  that  could  well  be  dignified  by  the  name  of  teaching, 
he  had  attracted  sufficient  notice  to  receive  a  commission  to  decorate 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  157 


the  old  church  of  Neuss.  He  also  executed  a  series  of  designs  for 
Goethe's  Faust  and  another  series  for  the  Niebelungenlied.  About 
1811  Cornelius  went  to  Kome,  and  was  soon  in  the  midst  of  a  Ger- 
man brotherhood  :  Overbeck,  Veit,  and  the  Schadows  were  about 
him  ;  but  Cornelius  seems  to  have  been  the  strongest  of  the  number. 
Like  all  the  "  Nazarites,"  he  worked  on  the  decoration  of  the  palace 
occupied  by  the  Consul- General  of  Prussia,  the  Casa  Bartoldi,  on 
Monte  Pincio.  Here,  together  with  the  painters  above  named,  he 
executed  a  series  of  pictures  illustrating  the  life  of  Joseph.  Perhaps 
no  better  general  idea  of  the  manner  of  Cornelius  could  be  given  than 
by  saying  that  he  seems  to  have  been  imbued  by  the  spirit  of  Goethe 
in  his  conceptions,  and  to  have  struggled  to  imitate  Michael  Angelo 
in  his  manner  ;  and  while  his  works  show  the  height  to  which  his 
spirit  soared,  we  are  sadly  disappointed  in  them,  because  he  was 
wanting  in  the  power  to  express  himself.  His  master- works  are  those 
in  the  Glyptothek,  Pinakothek,  and  church  of  St.  Ludwig  in  Mu- 
nich, and  at  the  Campo  Santo  at  Berlin.  The  first  are  mythological, 
and  the  halls  in  which  they  are,  are  called  the  Halls  of  the  Gods  and 
of  the  Heroes.  In  the  Pinakothek  is  the  "  History  of  Painting."  In 
the  church  and  Campo  Santo  he  has  shown  his  manner  of  treating  re- 
ligious subjects.  Later  in  life  Cornelius  visited  Paris  and  England. 
Some  of  his  scholars  have  become  distinguished  men.  His  works 
have  been  reproduced  by  the  best  German  engravers,  —  Amsler, 
Schoefer,  Eberle,  and  others.  All  the  honors  of  Germany  were  lav- 
ished on  this  artist,  and  he  was  recognized  as  a  great  man  in  all  coun- 
tries. At  the  National  Gallery,  Berlin,  there  are  two  salons  devoted 
to  his  cartoons.  In  the  first  are  those  of  the  religious  pictures  on  the 
walls  of  the  Campo  Santo  at  Berlin  and  those  of  the  church  of  St. 
Ludwig  at  Munich.  In  the  second  salon  are  the  cartoons  of  the  he- 
roic subjects  painted  at  the  Munich  Glyptothek.  Since  it  was  in  the 
expression  of  thought  in  his  works  in  which  this  artist  excelled,  and 
since  his  color  added  so  little,  perhaps  detracted  from  the  effect  of  his 
design,  many  persons  prefer  these  cartoons  above  the  finished  works 
made  from  them. 

"The  power  of  Cornelius  is  felt  in  that  four  cities  have  been  subject  to  his  sway, 
Kome,  Munich,  Diisseldorf,  and  Berlin.  Of  these  Munich  is  the  only  city  which  gives  the 
measure  of  the  painter  in  the  majesty  of  his  giant  dimensions,  —  a  majesty,  however, 
which  sometimes,  it  must  be  admitted,  grows  monstrous.  The  least  happy  of  his  efforts 
I  have  always  been  accustomed  to  consider  the  elaborate  series  of  mythological  frescos 
on  the  ceilings  of  the  Glyptothek.  Among  the  works  by  which  Cornelius  will  be  best 
remembered  are  two  grand  compositions,  'God  the  Creator 'and  'Christ  the  Judge.'* 
....  Cornelius,  following  in  the  steps  of  the  great  Christian  artists,  had,  even  from  his 
youth,  cherished  the  ambition  to  give  proof  of  his  power  by  a  painting  of  the  '  Last 
Judgment,'  the  most  arduous  in  the  whole  cycle  of  biblical  subjects  On  the  car- 
toon the  artist  spent  ten  years  The  fresco  itself  is  sixty-two  feet  high,  and  the 

seated  figure  of  Christ  occupies  no  less  than  twelve  feet  The  execution  of  less  im- 


*  Church  of  St.  Ludwig  at  Munich. 


158     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


portant  pictures  had  been  delegated  to  scholars.  Cornelius  with  his  own  hand  painted 
this,  his  master-work  A  work  such  as  this  is  in  need  of  no  general  terms  of  com- 
mendation. We  may,  however,  say  that  it  exemplifies  both  the  merits  and  defects  of  its 
school.  It  is  studious  in  the  sense  of  compilation,  it  is  careful  after  the  manner  of  eclec- 
ticism. For  accuracy  of  drawing  it  is  unexceptionable  ;  in  expression  of  character  it  is 
highly  dramatic  ;  for  composition  it  is  elaborate,  simple  in  its  balanced  symmetry,  and 
yet  complex  in  the  multiplicity  of  its  parts.  But,  notwithstanding  these  its  rare  merits, 
I  exclaimed,  when  last  in  the  presence  of  the  work,  How  supremely  disagreeable  !  The 
color  is  crude,  the  chiaroscuro  harsh,  and  the  execution  hard.  Again  I  repeat,  what  a 
pity  it  is  that  Cornelius  will  not  condescend  to  be  pleasing  !  "  —  J.  Beavington  Atkinson, 
London  Art  Journal,  January,  1865. 

Cornu,  Sebastian-Melchior.  (Fr.)  Born  at  Lyons  (1804-  about 
1870).  Officer  of  the  Legion  of  Honor.  After  some  preliminary 
studies,  he  placed  himself  under  Ingres.  He  went  afterward  to  Italy 
and  Turkey,  and  finally  settled  at  Paris.  He  painted  many  easel 
pictures,  and  some  historical  subjects,  for  public  places,  and  was  at 
length  commissioned  to  execute  the  works  at  the  church  of  Saint-Ger- 
main-des-Pres,  which  had  been  interrupted  by  the  death  of  Flandrin. 
Cornu  held  several  honorable  offices  connected  with  the  administra- 
tion of  the  fine  arts. 

Coroenne,  Henri.  (Fr.)  Born  at  Valenciennes.  Pupil  of  Abel 
de  Pujol  and  Picot.  Medal  at  Philadelphia,  where  he  exhibited  "The 
Salutation."  At  the  Salon  of  1877  were  his  "  Women  fishing  for 
Muscles  at  Cay eux-sur-  Mer,"  and  a  portrait  of  Mr.  V.  L.  ;  at  the 
Salon  of  1878,  "  Bernard  Palissy  at  the  Bastille"  and  a  portrait. 

Corot,  Jean-Baptiste-Camille.  (Fr.)  Born  at  Paris  (1796- 
1875).  Officer  of  the  Legion  of  Honor,  1867.  This  painter  studied 
his  art  against  the  wishes  of  his  family,  and  was  first  instructed  by 
Michallon,  after  whose  death  he  studied  under  Victor  Bertin,  and 
then  passed  several  years  in  Italy.  He  made  his  debut  at  the  Salon 
of  1827  with  "A  View  taken  at  Narni"  and  "The  Campagna  at 
Rome."  The  following  is  a  list  of  his  principal  works  :  Two  "  Views 
in  Italy,"  purchased  for  the  gallery  of  the  Duke  of  Orleans  ;  "  An 
Italian  Scene"  (1834),  for  the  Museum  of  Douai ;  "Souvenir  of  the 
Environs  of  Florence"  (1839),  for  the  Museum  of  Metz  ;  "Dance  of 
Nymphs,"  for  the  Luxembourg  ;  "Christ  in  the  Garden  of  Olives" 
(1849),  for  the  Museum  of  Langres  ;  "  Sunset  in  the  Tyrol"  (1850), 
for  the  Museum  of  Marseilles;  "Souvenir  of  Marcoussy"  (1855), 
purchased  by  Napoleon  III.  Corot  bequeathed  to  the  Luxembourg 
"A  View  of  the  Roman  Forum  "  and  one  of  "The  Coliseum  at  Rome." 
At  the  Salon  of  1874  he  exhibited  "  A  Souvenir  of  Arleux-du-Nord," 
belonging  to  M.  Robaut  ;  also  the  "Evening"  and  "  Moonlight"  ;  in 
1873,  "  A  Pastoral,"  belonging  to  M.  Cleophas,  and  "  The  Ferry- 
man," belonging  to  M.  Herman;  in  1872,  "A  Souvenir  of  Ville- 
d'Avray,"  belonging  to  M.  Breysse,  and  "  Near  Arras,"  belonging  to 
M.  Szorvady  ;  in  1870,  "A  Landscape  with  Figures"  and  "Ville- 
d'Avray  "  ;  in  1869,  "  Souvenirs  of  Ville-d'Avray  "  and  "  A  Reader  "  ; 
in  1868,  "A  Morning  at  Ville-d'Avray"  and  "Evening"  ;  in  1867, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  159 


"View  of  Marisselle,  near  Beauvais"  and  "A  High  Wind,"  etc. 
At  the  Johnston  sale,  "A  Path  through  the  Woods"  (32  by  21) 
sold  for  $  1,000.  At  the  Museum  of  Fine  Arts,  Boston,  is  a  "  Land- 
scape with  Nymphs  bathing"  (unfinished),  presented  by  James  Davis; 
and  "Dante  and  Virgil,"  presented  by  Quincy  A.  Shaw. 

Mr.  H.  P.  Kidder  has  in  his  collection  a  very  fine  picture  by  Corot. 
"  A  Landscape,"  belonging  to  Mr.  B.  Schlesinger,  was  at  the  Mechan- 
ics' Fair,  Boston,  1878. 

"  In  originality  of  mind,  and  force,  purity,  and  individuality  of  aim  and  character,  he 
seems  to  be  the  most  considerable  figure  that  has  appeared  in  the  art  world  of  France 
during  this  century.  The  life  of  Corot  was  almost  the  ideal  life  of  the  artist.  It  has 
been  said  that  he  was  poor  and  neglected  for  many  years.  This  is  only  measurably  true. 
He  was  born  in  affluent  circumstances,  and  was  destined  to  carry  on  his  father's  busi- 
ness. But  the  irresistible  impulses  of  his  genius  led  him  to  painting  instead,  and  his 
father  then  reduced  the  artist's  income  to  4,000  francs,  —  equal,  at  least,  to  twice  that 
sum  now.  But  on  his  father's  death  Corot  inherited  a  fortune  with  an  income  very  con- 
siderable in  France.  It  is  true  that  for  many  years  the  fact  that  a  new  genius  in  land- 
scape-painting had  appeared  was  recognized  by  but  few.  But  twenty-five  years  of 
succeeding  triumph  amply  atoned  for  early  neglect,  and  rendered  his  life,  on  the  whole, 
as  perfect  as  an  artist  can  expect,  with  the  exception  of  domestic  happiness,  for  which 
he  seems  not  to  have  cared.  It  is  said  that  one  of  his  paintings  was  so  badly  hung  at 
the  Salon  in  1851  that  no  one  looked  at  it.  Finally,  out  of  pity  for  the  offspring  of  his 
brain,  Corot  went  and  stood  before  it,  saying,  '  Men  are  like  flies ;  if  one  alights  on  a 
dish,  others  will  follow. '  And,  indeed,  a  young  man  and  woman  soon  came  up  and 
began  to  examine  the  picture.  '  It  is  not  bad  ;  there  is  something  in  it,'  said  the  man. 
But  she,  pulling  him  by  the  sleeve,  said,  '  It  is  horrid  ;  let  us  go  ! '  Well,  this  painting, 
after  being  kept  in  the  artist's  studio  several  years,  was  sold  for  700  francs,  and,  still 
later,  brought  12,000  francs  at  auction,  and  the  purchaser  was  so  pleased  with  his  bar- 
gain that  he  gave  a  dinner  in  celebration  of  the  event !  Corot's  income  for  several  years 
averaged  200,000  francs  from  his  profession  alone  ;  and  as  he  never  was  married,  and  was 
a  man  of  warm  and  generous  instincts,  he  gave  much  away ;  many  a  poor  artist  or 
artist's  family  has  occasion  to  bless  the  memory  of  Pere  Corot.  He  was  twice  decorated, 
first  as  Chevalier,  then  as  Commander  of  the  Legion  of  Honor,  but  he  never  was  able  to 
wrest  the  grand  medal  from  the  jurors  of  the  annual  exhibition,  —  a  striking  instance  of 
the  caprice  of  Fortune.  However,  a  splendid  gold  medal  was  presented  to  him  by 
friends,  a  short  time  before  his  death.  He  was  by  birth  a  Parisian,  and  his  tastes  were 
for  Nature  as  she  presents  herself  to  those  who  wander  into  the  suburbs  in  the  early 
morning  or  towards  eventide.  And  this  was  one  secret  of  his  success  :  he  painted  scenes 
with  which  his  audience  were  most  familiar, —  the  quiet  russet,  monotonous,  oft-recurring 
bits  of  landscape  in  the  North  of  France,  and  especially  around  Paris.  Simple  they 
seem,  but  they  are  really  simple  only  because  his  genius  was  in  harmony  with  them  ;  to 

others  they  might  be  difficult  Some  of  the  maxims  of  Corot  give  us  a  key  to  his 

methods  and  principles  of  art-work,  and  are  of  universal  application.  '  The  artist  re- 
quires, in  the  pursuit  of  art,  conscientiousness,  confidence  in  himself,  and  perseverance  ; 
being  thus  equipped,  the  two  essentials  of  the  last  importance  to  him  are  the  most  care- 
ful study  of  drawing  and  the  values.'  Another  saying  of  his  was,  'Above  all,  be  true  to 
your  own  instincts,  to  your  own  method  of  seeing  ;  this  is  what  I  call  conscientiousness 
and  sincerity.'  At  another  time  he  said,  'Place  yourself  face  to  faca  with  nature,  and 
seek  to  render  it  with  precision  ;  paint  what  you  see,  and  interpret  the  impression 
received.'  His  last  works  received  their  signature  on  his  death-bed,  and  his  last  words, 
as  his  hand  moved  against  the  wall  with  pressed  fingers,  as  if  he  were  painting,  were, 
'Look  how  beautiful  it  is  !   I  have  never  seen  such  lovely  landscapes  ! ' 

"  The  great  aim  of  the  art  of  Corot  was  to  harmonize  manner  or  treatment  with  the 


160      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ove  of  nature  ;  or,  like  Turner,  whom  he  resembled  in  this  respect,  with  material  sub- 
stances to  convey  the  impression  made  on  a  poetic  mind  by  the  aspects  of  nature,  —  by 
,he  real  to  express  the  ideal,  by  the  objective  to  translate  the  subjective.  His  methods 
and  style  are  still,  and  always  will  be,  a  matter  of  difference  and  discussion  ;  but  no  one 
any  longer  disputes  the  influence  of  his  genius  as  an  idealist  withstanding  the  material- 
istic tendencies  of  the  age  So  far  as  foreign  influences  are  perceptible  in  the  works 

of  Corot,  they  are  classical  and  Italian,  but  never  more  than  faintly  discernible.  Nor 
did  he  confine  himself  to  landscape  ;  he  painted  numerous  figure-pieces,  including  some 
Sarge  canvases  representing  sacred  subjects,  like  his  '  Flight  into  Egypt '  and  the  '  Bap- 
tism of  Christ.'  But  his  reputation  is  founded  chiefly  on  his  landscapes,  of  which  he 
produced  an  immense  number,  at  first  sight  in  one  key,  although  renewed  observation 
discovers  a  distinct  idea  and  individual  beauty  in  each  scene.  He  most  affected  the 
sober  harmonies  of  dawn  or  twilight.  When  the  most  has  been  said  in  Corot's  favor, 
it  must  be  conceded  that  he  was  great  as  an  artist  more  for  what  he  attempted  than  for 
what  he  achieved.  But  is  not  this  the  highest  praise  that  can  be  awarded  to  the  faithful 
worker  in  this  imperfect  existence  of  ours  ?  That  there  is  great  sameness  in  the  can- 
vases of  Corot  it  is  idle  to  deny.  Like  Paganini,  he  performed  on  an  instrument  with 
only  one  chord ;  but  Paganini  played  many  tunes  on  that  one  string,  while  Corot  played 
only  one  ;  still  he  rendered  that  single  tune  sometimes  with  vibrations  that  thrilled  the 
soul.  He  evoked,  as  only  genius  can,  that  eerie,  mysterious  feeling  which  many  experi- 
ence but  cannot  express,  in  observing  the  subtler  effects  of  nature,  and  sometimes  almost 
seemed  to  seize  the  '  vagrant  melodies '  which  quiver  through  the  aspen  boughs  in  the 
dawn  of  May,  or  speed  the  loitering  inarch  of  the  wandering  clouds  on  a  day  in  June. 
But  only  those  of  his  admirers  who  belong  to  the  servile  class  are  ready  to  accept  every- 
thing that  Corot  painted  as  worthy  of  his  reputation,  or  as  qualified  to  advance  art.  No- 
where is  this  fact  better  recognized  than  in  Paris  itself.  The  following,  from  a  French 
paper  of  good  standing,  only  expresses  the  general  opinion  there,  sometimes  given  in 
stronger  terms:  'Artiste,  Corot  laisse  une  ceuvre  immense,  dans  laquelle  il  faut  faire 
deux  parts  :  les  tableaux  soignes,  traites  avec  amour  ;  les  tableaux  laches,  brosses  a  la 
hate,  ceux,  en  un  mot,  que  Ton  appelle  les  Corots  du  commerce.  Les  amateurs  mettent 
entre  les  deux  categories  une  enorme  difference.'  It  is  no  secret  that  the  market  is 
flooded  with  spurious  Corots,  which  bear  sufficient  resemblance  to  his  poorer  works  to 
deceive  those  who  are  not  connoisseurs  in  art.  During  his  last  illness  the  price  of  his 
works  went  up  rapidly,  which  gave  rise  to  a  bon-mot.  '  Why,'  said  one  to  an  art-dealer, 
•  do  you  not  buy  the  works  of  such  a  one  as  well?  His  reputation  is  rapidly  increasing.' 
'  My  dear  sir,'  answered  the  other,  'he  has  a  constitution  that  will  survive  us  all ! ' "  — 
S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

"Corot  stands  apart.  Critics  call  him  a  master.  In  some  respects  he  is  one,  who 
was  much  needed  in  his  school,  or,  indeed,  in  any  other,  as  a  counter-weight  to  the 
prevalent  materialism.  He  is  no  profuse  colorist.  Browns,  pale  greens,  and  silvery 
grays,  with  an  occasional  shade  of  purple,  or  a  bright  spot  of  intenser  color  to  represent 
flowers  on  drapery,  are  his  reliance.  Vegetation  or  figures,  which  he  uses  sparsely,  are 
thin  masses  on  washes  of  color,  with  only  a  shadowy  resemblance  to  the  things  in- 
dicated. But  Corot  is  a  poet.  Nature  is  subjective  to  his  mental  vision.  He  is  no 
seer,  is  not  profound,  but  is  sensitive,  and,  as  it  were,  clairvoyant,  seeing  the  spirit  more 
than  the  forms  of  things.  There  is  a  bewitching  mystery  and  suggestiveness  in  his  ap- 
prehension of  the  landscape,  united  to  a  pensive  joyousness  and  absorption  of  self  in 
the  scene,  that  is  very  uncommon  in  his  race.  Calame,  who  is  Swiss,  has  it  in  a  more 
robust  way  ;  Dore  also,  of  another  kind.  This  obliviousness  of  selfhood  is  an  important 
element  in  truly  great  work.  Corot's  paintings  challenge  no  carping  criticism.  Their 
tendency  is  to  make  one  forget  it  in  tranquil  enjoyment.  They  fall  upon  the  eye  as  dis- 
tant melody  upon  the  ear,  captivating  the  senses  and  inspiring  the  sentiments.  Con- 
templation, too,  and  sympathetic  reception  of  Nature's  language  are  quickened  by  his 
compositions.  They  are  no  transcripts  of  scenery,  but  pictures  of  the  mind.  To  soothe, 
to  give  repose,  to  evoke  dreamy  sentiment,  such  is  their  mission.    Not  that  there  is  any 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  161 


peculiarly  Christian  idea  in  them.  This  spirit  is  rather  pantheistic,  and  shows  a  sym- 
pathy with  amorini,  nymphs,  and  the  Greek's  delight  in  Nature  because  of  her  myste- 
rious beauty  of  sunlight  and  shadow,  in  a  subdued  way,  as  if  in  the  presence  of  gods. 
Corot  can  never  be  popular  in  France,  for  he  is  too  much  removed  from  the  common 
characteristics  of  the  nation.  He  is  not  materialistic  enough.  His  solitude  is  too  calm. 
His  amorini  are  not  lusty  or  amorous,  but  flit  through  his  copses  like  ethereal  butter- 
flies. Twilight  charms  him  greatly,  always  silvery-toned  and  bordering  on  the  shadowy 
boundary  that  separates  the  visible  from  the  invisible,  and  suggesting  the  inscrutable. 
The  consummate  success  lies  in  his  management  of  light.  With  him  it  is  genius.  Na- 
ture knows  herself  in  this  in  his  painting,  as  a  beautiful  woman  knows  her  face  in  a 
glass.  Water,  which  he  loves  next  to  light,  glimmers  and  sparkles  under  its  rays. 
Shadows  and  reflections  are  alive  with  it.  The  densest  vegetation  opens  before  it. 
Everywhere  light  penetrates  without  reminder  of  either  brush  or  pigment.  Corot  is  the 
painter  of  air  ;  as  great  a  gift  to  art  in  his  manner  as  was  that  of  Claude  of  unveiled  sun- 
shine in  his."  —  Jarves,  Art  Thoughts. 

"  Of  late,  no  painter  has  been  so  much  exalted  by  criticism  ;  he  was  not  even  re- 
proached with  the  uniformity  of  his  pictures,  nor  with  the  calculated  absence  of  colored 
tones  and  rigid  forms.  Everybody  knows  that  mythology  is  now  banished  from  our 
landscapes,  and  that  it  is  the  fashion  to  laugh  at  the  nymphs  whose  cadenced  steps  had 
so  much  charm  for  our  fathers;  still  it  is  one  of  the  not  infrequent  inconsistencies  of 
French  criticism  that  it  does  not  hesitate  to  praise,  in  Corot,  a  choice  of  subjects  that 
it  condemns  in  theory.  It  is  true  that  his  nymphs  add  no  great  value  to  his  pictures, 
but  they  are  placed  with  so  much  judgment  that  it  is  impossible  to  realize  his  land- 
scapes without  them.  However,  he  sometimes  sought  to  render  nature  without  altera- 
tion ;  for  instance,  in  his  '  Vues  de  Ville-d'Avray  et  des  Environs  de  Paris ' :  but,  like  all 
true  artists,  Corot  assimilates  all  he  sees  to  his  inward  dream,  and  the  varied  effects  of 
nature  uniformly  appear  to  him  under  the  same  poetical  vision.  Had  he  been  painting 
in  Egypt  by  the  Pyramids,  he  would  have  found  there  his  silvery  tones  and  his  mysteri- 
ous bowers.  Whether  he  works  out  of  mythology  some  graceful  tale,  or  whether  he 
renders,  in  a  manner  that  he  intends  to  be  positive,  some  particular  and  familiar  scene, 
Corot  always  leaves  in  his  work  a  poetical  perfume,  which  is  his  personality,  and  is  as 

good  as  a  signature  Corot  is  par  excellence  the  painter  of  morning.    He  can 

render  with  more  felicity  than  anybody  else  the  silvery  light  on  dewy  fields,  the  vague 
foliage  of  trees  mirrored  in  calm  water.  He  was  not  fond  of  the  noonday  light,  and  it 
was  always  in  the  earliest  morning  that  he  went  out  to  paint  from  nature.  He  has  him- 
self described  his  artistic  impressions  in  letters  which  foreshadow  his  pictures,  and  we 
cannot  end  this  article  better  than  by  giving  one  extract  out  of  them  :  '  A  landscape- 
painter's  day  is  delightful.  He  gets  up  early,  at  three  in  the  morning,  before  sunrise  ; 
he  goes  to  sit  under  a  tree,  and  watches  and  waits.  There  is  not  much  to  be  seen  at 
first.  Nature  is  like  a  white  veil,  upon  which  some  masses  are  vaguely  sketched  in 
profile.  Everything  smells  sweet,  everything  trembles  under  the  freshening  breeze  of  the 
dawn.  Bing  !  *  The  sun  gets  clearer  ;  he  has  not  yet  torn  the  veil  of  gauze  behind  which 
hide  the  meadow,  the  valley,  the  hills  on  the  horizon.  The  nocturnal  vapors  still  hang  like 
silvery  tufts  upon  the  cold  green  grass.  Bing !  Bing  !  The  first  ray  of  the  sun  .... 
another  ray.  The  small  flowerets  seem  to  awake  joyously  ;  each  of  them  has  its  trem- 
bling drop  of  dew.  The  chilly  leaves  are  moved  by  the  morning  air.  One  sees  nothing  ; 
everything  is  there.  The  landscape  lies  entirely  behind  the  transparent  gauze  of  the 
ascending  mist,  gradually  sucked  by  the  sun,  and  permits  us  to  see,  as  it  ascends,  the 
silver-striped  river,  the  meadows,  the  cottages,  the  far-receding  distance.  At  last  you 
can  see  what  you  imagined  at  first.  Bam !  The  sun  has  risen.  Bam !  The  peasant 
passes  at  the  bottom  of  the  field,  with  his  cart  and  oxen.   Ding  !  Ding  !   It  is  the  bell 

*  We  preserve  Corot's  interjections,  Bing  !  Bam  !  Ding  !  Boum  !  where  it  pleased  him 
to  insert  them.  They  mean  nothing,  except  that  there  is  a  change  in  the  character  of 
the  scene,  which  he  chooses  to  mark  in  this  way. 

K 


162     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  ram  which  leads  the  flock.  Bam !  Everything  sparkles,  shines  ;  everything  is  in 
full  light,  light  soft  and  caressing  as  yet.  The  backgrounds  with  their  simple  contour 
and  hai  'monious  tone  are  lost  in  the  infinite  sky,  through  an  atmosphere  of  azure  and 
mist.  The  flowers  lift  up  their  heads  ;  the  birds  fly  here  and  there.  A  rustic,  mounted 
on  a  white  horse,  disappears  in  the  narrowing  path.  The  rounded  willows  seem  to  turn 
like  wheels  on  the  river  edge.  And  the  artist  paints  away  ....  paints  away.  Ah  ! 
the  beautiful  bay  cow,  chest-deep  in  the  wet  grasses  ;  I  will  paint  her.  Crac .'  there  she 
is  !  Famous  !  Capital !  What  a  good  likeness  she  is  !  Bourn  !  Bourn  !  The  sun 
scorches  the  earth.  Bourn!  All  becomes  heavy  and  grave.  The  flowers  hang  down 
their  heads,  the  birds  are  silent,  the  noises  of  the  village  reach  us.  These  are  the 
heavy  works  ;  the  blacksmith  whose  hammer  sounds  on  the  anvil.  Bourn  !  Let  us  go 
back.  All  is  visible,  there  is  no  longer  anything.  Let  us  get  some  breakfast  at  the 
farm.  A  good  slice  of  home-made  bread,  with  butter  newly  churned  ;  some  eggs,  cream, 
and  ham !  Bourn !  Work  away,  my  friends  ;  I  rest  myself.  I  enjoy  my  siesta,  and 
dream  about  my  morning  landscape.  I  dream  my  picture,  later  I  shall  paint  my  dream.' 
Is  not  this  Corot  himself?"  —  Rene  Menard,  Portfolio,  October,  1875. 

Corti,  Costantino.  (Ital)  Born  in  Milan  (1823  - 1873).  His 
statue  (colossal)  of  "  Lucifer  "  was  enthusiastically  admired  in  the 
halls  of  the  Brera,  and  later  in  the  Expositions  of  Florence,  London, 
and  Paris.  His  statue  of  Federigo  Borromeo  is  on  the  Piazza  San 
Sepolcro,  Milan  ;  that  of  Conrad  of  Swabia  is  a  fine  work. 

Costa,  Pietro.  (Ital.)  Born  in  Genoa.  He  took  the  prix  de 
Rome  at  the  Academy  of  Genoa,  where  he  studied,  and  a  medal  at  the 
Exposition  at  Naples  in  1877.  In  1848  he  removed  to  Home,  where 
he  still  resides.  His  works  have  been  principally  monumental 
statues  to  be  placed  in  cemeteries.  He  has  executed  a  monument  to 
Mazzini.    At  Naples  he  exhibited  a  group  of  children. 

Costoli,  Aristodeme.  (Ital.)  Born  at  Florence  (1803-1871). 
Professor  of  the  Academy  of  Fine  Arts  at  Florence.  This  sculptor 
was  skillful  in  design,  and  in  all  the  technique  of  his  art,  but  before 
his  work  the  heart  remains  placid  and  the  pulse  is  not  quickened.  In 
his  design  for  the  monument  of  Mme.  Catalini,  the  thought  is  charm- 
ing. The  base,  divided  in  three  parts,  bears  the  arms  of  her  family 
and  an  epitaph.  The  figures  above  represent  Poverty,  and  the  Angel 
of  Benevolence,  who  writes  an  eulogy  of  the  dead  in  remembrance 
of  her  inexpressible  charity,  while  St.  Cecilia  appears  on  high.  What 
more  charming  conception  for  the  monument  of  this  sweet  singer  ? 
And  yet,  in  spite  of  the  truth  that  it  is  well  conceived  and  well  de- 
signed, the  genius  which  if  in  it  would  make  us  tremble  with  pleas- 
ure and  sympathy  before  it,  exists  not.  The  whole  effect  is  as  cold  as 
the  marble  of  which  it  is  made.  Among  his  works  are,  the  "  Dying 
Gladiator,"  a  portion  of  the  monument  to  Columbus  at  Genoa 
("  Prudence  "  and  one  of  the  bas-reliefs),  a  "  Statue  of  Meneceus  the 
Theban,"  "  Monument  to  Count  Guido  della  Gheradesca,"  statues 
of  "  Galileo,"  etc.  The  "  Conception,"  one  of  his  latest  works,  was 
modeled  for  the  Marchese  Canossa  of  Verona.  In  style  Costoli  fol- 
lowed the  sculptors  of  the  fifteenth  century. 

Cot,  Fierre-Auguste.    (Fr.)    Born  at  Bedarieux.    Chevalier  ot 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  163 


the  Legion  of  Honor.  Pupil  of  Cogniet,  Cabanel,  and  Bouguereau. 
At  the  Salon  of  1877  he  exhibited  a  portrait  painted  for  the  Chambre 
cles  Notaires  of  Paris  ;  in  1876,  two  portraits  ;  in  1875,  a  "  Magdalene  " 
and  two  portraits  ;  in  1873,  "  Springtime  "  and  a  portrait  ;  in  1872, 
"  The  Day  of  the  Dead  at  the  Campo  Santo  of  Pisa  "  and  "  Dionisa  "  ; 
in  1870,  "  Prometheus  "  and  "  Meditation."    [Died,  1883.] 

Couder,  Louis  Charles  Auguste.  (Fr.)  Born  at  Paris  (1790- 
1873).  Member  of  the  Institute.  Officer  of  the  Legion  of  Honor. 
After  studying  at  Marseilles  he  was  in  the  ateliers  of  ftegnault  and 
David  at  Paris.  He  executed  the  painting  in  the  Salon  of  Apollo  at 
the  Louvre,  and  some  works  at  Versailles.  In  1827,  becoming  dis- 
couraged by  the  coolness  with  which  his  works  were  received  in  Paris, 
he  went  to  Germany,  where  his  practice  in  fresco-painting  gave  him 
more  ease  in  execution.  After  1830  he  returned  to  Paris  and  took 
higher  rank  than  before.  At  length  he  was  charged  with  the  frescos 
of  Saint-Germain-l'Auxerrois,  and  executed  a  picture  for  the  Made- 
leine. At  the  Luxembourg  there  is  a  crayon  drawing  by  Couder  of 
one  of  the  paintings  at  Saint-Germain-l'Auxerrois,  called  "  Our  Lady 
of  the  Seven  Sorrows." 

Couder,  Jean-Baptiste-Amede"e.  (Fr.)  Born  at  Paris  (1797- 
1865).  Chevalier  of  the  Legion  of  Honor.  In  early  life  he  was  a 
painter,  but  later  a  designer  for  industrial  arts. 

Couder,  Alexandre- Jean-Remy.  (Fr.)  Born  at  Paris,  1808. 
Chevalier  of  the  Legion  of  Honor.  At  first  studied  sculpture,  then 
entered  the  atelier  of  Baron  Gros,  and  made  his  debut  at  the  Salon 
of  1837.  He  paints  genre  subjects  and  still-life.  He  has  exhibited,  in 
1877,  "  Eoses  and  Fruits  "  and  "Wild-Flowers"  ;  in  1876,  "  An  In- 
terior" and  a  "Bouquet  of  Wild-Flowers"  ;  in  1875,  two  pictures  of 
"  Wild-Flowers  "  ;  in  1874,  "  The  Eeturn  from  the  Fields  "  and  a 
"  Bouquet  of  Wild-Flowers  "  ;  etc.    [Died,  1879.] 

Courbet,  Gustave.  (Fr.)  Born  at  Ornans  (1819-1877).  Medals, 
1849,  '57,  and  '61.  He  refused  the  Cross  of  the  Legion  of  Honor, 
after  he  had  accepted  that  of  the  Order  of  St.  Michael  from  the  King 
of  Bavaria.  Courbet  was  sent  to  Paris  by  his  father  in  1839  for  the 
purpose  of  studying  law.  But  he  was  determined  to  be  an  artist, 
and  sent  a  picture  to  the  Salon  of  1844.  He  studied  a  little  under 
Steuben  and  Hesse,  but  more  by  himself.  He  affected  the  Flemish, 
Florentine,  and  Venetian  schools.  He  acquired  exaggerated  eccen- 
tricities, which,  added  to  those  of  his  nature,  made  him  fancy  that  he 
could  establish  a  new  school  of  art,  and  produce  a  remarkable  revolu- 
tion in  the  tastes  and  opinions  of  all  who  study  such  subjects.  His 
fundamental  idea  he  called  "  realism  "  ;  that  is,  he  maintained  that 
art  should  represent  things  exactly  as  they  appeared,  and  that  any 
ideality  or  search  for  the  beautiful  was  a  gross  error.  "  Le  beau,  c'est 
le  laid  "  was  one  of  his  favorite  paradoxes.  He  chose  models  from 
the  ugliest  and  most  vulgar  types  about  him,  and  his  pictures  were 


164     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


repugnant  to  all  artistic  sentiment.  He  made,  however,  some  con- 
verts, and  had  the  honor  of  being  called  the  chief  of  the  realistic 
school.  Courbet  had  undoubted  talent,  and  some  of  his  figures  are  to 
be  praised  for  strength  and  modeling,  but  his  "best  works  were  his 
landscapes  ;  in  seeing  them  one  is  sure  that  this  painter  had  a  senti- 
ment and  a  love  for  the  beautiful  in  nature,  and  that  he  did  himself 
violence  when  he  affected  the  ugly  only.  If  another  course  could 
have  been  given  to  his  talent,  he  would  have  been  a  great  artist ;  as  it 
is,  he  was  a  good  one.  One  of  his  fine  pictures  represents  "  Deer  in 
the  Forest  of  Fontainebleau."  His  better  pictures  are  much  appre- 
ciated by  connoisseurs,  and  command  high  prices,  which  will  be  in- 
creased by  his  death.  One  is  forced  to  add,  in  giving  an  account  of 
Courbet,  that  he  was  a  Communist  in  1871,  and  authorized  the  de- 
struction of  the  column  Vendome.  He  was  tried  at  Versailles,  and 
sentenced  to  six  months  in  prison,  and  a  fine.  He  was  first  confined  in 
St.  Pierre  at  Versailles,  then  in  Sainte-Pelagie,  and,  his  health  failing, 
he  was  placed  in  the  care  of  Dr.  Duval,  who  performed  on  him  a 
serious  operation.  In  May,  1872,  the  jury  of  admission,  at  the  sug- 
gestion of  Meissonier,  decided  that  the  works  of  Courbet  could  not  be 
received  at  the  Salon.  Many  violent  articles  in  the  Paris  journals  were 
occasioned  by  this  decision.  In  1870  he  exhibited  "  The  Stormy  Sea  " 
and  "The  Beach  at  Etretat  after  a  Storm";  in  1869,  "The  Stag- Whoop, 

—  an  Episode  of  the  Chase  "  and  "  The  Siesta  in  the  Haying- Season, 
Mountains,  Doubs  "  ;  in  1868,  "The  Charity  of  a  Beggar  "  and  "  Deer 
driven  to  the  Ecoutes,  —  Springtime  "  ;  in  1866,  "Woman  with  a  Par- 
rot" and  "Deer  at  the  Brook  of  Plaisirs-Fontaine,  Doubs."  His 
"After  Dinner  at  Ornans"  (1849),  "The  Interment  at  Ornans"  (1850), 
and  the  "Bathers  "  (1853)  received  much  severe  criticism.  In  1855, 
being  discontented  with  the  hanging  of  his  pictures,  he  made  a  sepa- 
rate exhibition  of  them.  At  Munich  he  had  the  honor  of  an  entire 
Salon  for  himself.  After  his  liberation  from  prison,  Courbet  lived  in 
Switzerland,  and  in  the  summer  of  1876  he  exhibited  his  later  works 
at  Chaux  de  Fonds.  At  the  Boston  Art  Museum  there  is  a  fine  pic- 
ture by  Courbet  (loaned  by  Mr.  H.  Sayles),  called  "  La  Curee."  The 
figure  in  the  foreground  is  said  to  be  a  portrait  of  the  artist.  Mr. 
Thomas  Wigglesworth  has  recently  purchased  a  large  landscape  by 
this  artist,  in  which  are  groups  of  peasant- women  and  cows.  The 
landscape  is  very  fine.  "Rocks  on  the  Coast,"  belonging  to  S.  D. 
Warren,  was  exhibited  at  the  Mechanics'  Fair,  Boston,  in  1878. 

"  Antagonistic  in  style  to  Corot,  is  Courbet,  whose  material  force  is  overwhelming 
when  he  chooses.    He  is  the  strongest,  the  truest,  and  most  satisfying  of  the  realists, 

—  a  Robert  Browning  of  the  easel.  There  are  no  such  local  greens,  grays,  lights,  and 
shadows  as  his  ;  no  firmer  sense  of  material  forms  and  uses  of  things  ;  none  more  vigor- 
ous or  more  harmonious  in  his  own  interpretation  of  nature.  He  puts  the  spectator  in 
absolute  organic  relationship  to  it.  Courbet's  qualities  are  great,  like  those  of  Walt 
Whitman,  who  is  an  American  Courbet  in  verse;  but  the  best  qualities  of  both  are 
obscured  or  affrontively  obtruded  by  a  sort  of  Titanesque  realism,  which  affects  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  165 


gross  and  material,  as  it  were,  to  emphasize  their  introspective  view  into  the  primary 
elements  of  nature  and  man.  Each  sings  the  earth  earthy,  and  with  such  heartiness 
and  comprehension  as  to  move  our  imaginations  to  .a  muscular  grasp  of  her  stores  of 
enjoyment.  Courbet  at  times  may  he  coarse,  but  his  style,  compared  with  the  popular 
pretty,  is  as  the  uncut  diamond  beside  the  tinsel  gem."—  Jarves,  Art  Thoughts. 

"  It  is,  however,  in  the  landscape  that  his  entire  skill  shows  itself.  He  is  at  ease  only 
in  open  country  ;  he  evades  interiors,  let  it  be  because  architecture  seems  to  him  an 
unreal  thing,  or  rather  because  the  infinite  variety  of  inflections  would  shackle  his  free- 
dom and  his  brutality.  When,  in  a  genre  picture,  he  wishes  to  employ  the  landscape 
as  an  accessory,  the  landscape  takes  the  upper  hand  and  becomes  the  principal  thing. 
I  will  cite,  for  example,  only  the  '  Demoiselles  de  village. '  .  .  .  .  For  the  rest,  M.  Cour- 
bet pretends  to  satisfy  all  the  exigencies  of  art  without  choosing  from  nature.  He  pro- 
claims the  equality  of  all  visible  bodies  ;  the  dead  deer,  the  man  who  has  killed  it,  the 
earth  which  bears  it  up,  and  the  tree  which  shades  it,  have  in  his  eyes  the  same  inter- 
est ;  he  affects  not  to  choose,  but  to  paint  all  which  he  meets,  without  preferring  one 
thing  before  another  ;  and  as  he  has  always  at  his  disposal  the  same  solid  and  succulent 
qualities  as  a  painter,  his  studio  resembles  those  restaurants  where  the  masons  find 
iouillon  and  beef  at  all  hours.  His  theory  may  be  thus  given  :  all  objects  are  equal 
before  painting. "  —  Edmond  About,  Nos  Artistes  au  Salon  de  1857. 

Courdouan,  Vincent- Joseph-Franqois.  (Fr.)  Born  at  Toulon, 
1816.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Guerin.  Made 
his  debut  at  the  Salon  of  1835.  He  then  studied  the  sea  and  devoted 
himself  to  painting  marine  subjects.  He  traveled  in  Algeria,  and  in 
1848  was  made  Professor  of  Design  at  the  Naval  School  of  Toulon. 
He  paints  both  in  oil  and  water-colors.  He  exhibited  at  the  Salon 
of  1877,  "  The  Gulf  of  Ciotat  "  ;  in  1876,  "  The  Gorge  of  Malvoisin  "  ; 
in  1875,  "  Sunset  after  heavy  Weather  on  the  Coast  of  Provence  "  ; 
in  1874,  two  coast  scenes  and  the  "  Environs  of  Hyeres"  ;  in  1878, 
"  The  Beach  at  Hyeres,  —  a  Day  of  Pigeon-Shooting  "  and  "  Solitude, 
—  Evening,  near  Hyeres." 

Courtat,  Louis.  (Fr.)  Born  at  Paris.  Medals,  1873,  '74,  and 
'75.  Pupil  of  Cabanel.  At  the  Salon  of  1877  he  exhibited  "  Hagar 
and  Ishmael"  ;  in  1875,  "  Leda,"  now  in  the  Luxembourg  ;  in  1874, 
"  St.  Sebastian  "  ;  in  1873,  "  A  Siesta  "  and  a  portrait ;  and  in  1878, 
"  Springtime." 

Courtois,  Gustave.  (Fr.)  Born  at  Pusey.  Medal  of  third  class 
in  1878.  Pupil  of  Gerome.  At  the  Salon  of  1878  he  exhibited  a 
"  Portrait  of  Mme.  de  Rochetaillee  "  and  "  Tais,  la  courtisane,  aux 
Enfers  "  ;  in  1877,  a  portrait  and  "  Narcissus  "  ;  in  1876,  "  The  Death 
of  Archimedes  "  and  "  Orpheus." 

Cousins,  Samuel,  R.  A.  (Brit.)  Born,  1801.  At  the  age  of 
twelve  he  received  a  silver  medal  in  Exeter,  his  native  town,  for 
drawings.  In  1815  or  '16  he  went  to  London,  and  became  an  ap- 
prentice of  a  well-known  mezzotint  engraver,  remaining  with  him 
some  years.  His  engraving  of  "  Lady  Acland  and  her  Family,"  after 
Lawrence,  first  brought  him  into  notice  in  1825.  Ten  years  later  he 
was  elected  Associate  Engraver  of  the  Royal  Academy,  and  was  made 
an  Academician  in  1855,  the  first  engraver  upon  whom  that  honor  was 
conferred.    Among  the  better  known  of  his  plates  may  be  mentioned 


166     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  Duke  of  Wellington  »  ;  "  Pius  VII.  "  ;  «  Sir  Robert  Peel,"  after 
Lawrence  ;  "  Bolton  Abbey"  ;  "  Midsummer  Night's  Dream  "  ;  "  The 
Return  from  Hawking  "  and  a  portrait  of  the  Queen,  after  Landseer  ; 
"  The  Infant  Samuel,"  after  Sant  ;  "  The  Mitherless  Bairn,"  after 
Faed  ;  (l  The  Royal  Family,"  "  The  Sailor  Prince,"  "  Emperor  and 
Empress  of  the  French,"  after  Winterhalter  ;  "  Marie  Antoinette  in 
the  Temple,"  after  E.  M.  Ward. 

Couture,  Thomas.  (Fr.)  Born  at  Senlis  (1815- 1879).  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Gros  and  Delaroche.  He  very  early 
attracted  attention  and  admiration.  His  "  Troubadour,"  painted  in 
1844,  has  been  sold  for  55,000  francs  (Gsell  sale).  In  1847  he  sent  to 
the  Salon  his  famous  work,  "  The  Romans  of  the  Decadence,"  now  at 
the  Luxembourg.  Among  his  other  works  are,  "  The  Gypsy,"  "  The 
Falconer,"  "  The  Return  of  the  Troops  from  the  Crimea,"  and  "  The 
Baptism  of  the  Prince  Imperial."  Couture  decorated  the  chapel  of 
the  Virgin  at  Saint-Eustache.  In  1872  he  exhibited  "Damocles." 
At  the  Johnston  sale  "  A  Female  Head  "  (19  by  16)  sold  for  $  1,000. 
At  the  Walters  Gallery,  Baltimore,  is  a  work  by  this  artist,  of  which 
the  Every  Saturday,  February  23, 1878,  says  :  — 

"  A  highly  poetic  little  work  by  Couture  is  one  of  the  gems  of  the  collection.  It  pre- 
sents a  graceful  and  dignified  figure,  whose  face  is  sad  and  whose  pose  desponding  sits, 
loaded  with  chains.  Near  him  is  a  harp  across  which  a  laurel  wreath  is  hanging.  At 
his  feet  is  a  vase  of  coins  overturned.  On  the  wall  to  which  he  is  chained  is  written, 
"  Potior  mihi  periculosa  liber  tas,  quam  secura  et  aurea  servitus.'  It  has  all  of  Couture's 
perfection  of  drawing  and  charm  of  color." 

At  the  Boston  Art  Museum  there  is  a  sketch  by  Couture  of  "  Two 
Volunteers  of  the  French  Revolution."  It  is  a  fine  work.  It  is  fre- 
quently copied  by  the  pupils  of  the  school  of  this  Museum,  and  is 
esteemed  one  of  the  gems  of  the  collection,  to  which  it  was  presented 
by  several  ladies. 

"  Couture  is  the  opposite  of  Flandrin  ;  a  genuine  offspring  of  French  feeling,  temper- 
ing, however,  its  sensual  bias  with  the  aesthetic  requirements  of  his  personal  tastes,  and 
making  pictures  from  an  intellectual  point  of  view,  vitalized  by  passions  and  sentiments 
akin  to  their  themes.  Especially  is  this  true  of  his  masterpiece,  '  The  Romans  of  the 
Decadence,'  which  best  exhibits  his  quality  of  genius  and  highly  trained  skill.  It  is  an 
allegory  subdued  by  realistic  treatment  to  the  comprehension  of  every  one.  Ideal  in 
conception,  and  avoiding  the  scenic  display  and  trite  conventionalism  of  the  David 
school,  it  shows  a  possible  classical  debauch,  without  attaining  to  the  local  and  historic 
verity  of  more  recent  treatment.  Allegory  predominates.  Similar  scenes  must  have 
marked  the  decline  of  Roman  virtue,  but  this  painting  rises  above  the  particular  spec- 
tacle to  the  realization  of  the  collapse  of  a  mighty  empire,  and  symbolizing  the  vices  and 
crimes  which  ruined  it.  Couture's  aesthetic  perceptions  were  too  nice  to  permit  him  to 
indulge  in  the  common  trait  of  making  the  nude  simply  unchaste.  His  figures  are 
voluptuous,  but  not  lewd.  Even  in  intoxication  he  preserves  them  from  the  loathsome 
by  the  grandeur  of  their  passions,  and  those  ancestral  memories  that  withhold  them  from 
absolute  bestiality.  They  are  drunk  to  the  reeling  of  reason  ;  eyes  glisten  with  thicken- 
ing films  and  besotted  desires  ;  speech  staggers ;  forms  totter  ;  action  is  growing  be- 
numbed by  the  fatal  cup  ;  but  the  aristocratic  mien  of  the  masters  of  the  earth  never 
wholly  leaves  them.  How  can  it  be  otherwise  in  the  presence  of  those  grave  statues  of 
their  fathers  that  look  down  upon  them  like  admonishing  visitors  of  another  world  ? 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  167 


Compared  with  the  lecherous  orgies  that  French  art  gives  of  scenes  of  the  Orleans 
regency  and  subsequent  reign,  it  is  a  veritable  debauch  of  gods.  The  technical  treat- 
ment of  this  effective  painting  betrays  the  influence  of  Veronese,  though  there  is  no 
servile  following  of  any  master.  It  is  brilliant  and  luminous  in  color,  but  falls  into  the 
not  uncommon  fault  of  the  school  of  broken  and  scattered  lights,  and  a  certain  fierceness 
of  effect,  which  comes  of  fiery  blood  and  strong  passions."  —  Jarves,  Art  Thoughts. 

Cox,  David.  {Brit.)  (1783  -  1859.)  Began  his  career  as  a  scene- 
painter  in  the  Birmingham  Theater.  In  1803  he  went  to  London, 
where  he  was  employed  for  a  short  time  in  the  same  capacity  at 
Astley's.  Later  he  became  a  teacher  of  drawing  in  London,  sketching 
in  Wales  during  the  summer  months  with  his  pupils.  He  lived  near 
Hereford  from  1815  to  '27,  when  he  removed  to  London.  The  last 
fifteen  years  of  his  life  were  spent  in  the  vicinity  of  Birmingham. 
He  was  a  landscape-painter  of  great  power,  and  during  his  long  career 
he  painted  many  pictures  which  were  and  still  are  highly  prized. 
Among  them  may  be  named,  "On  the  Wye,"  "Welsh  Funeral," 
"Harvest -Time  in  Wales,"  "Old  Welsh  Church  at  Bettws-y-coed," 
"  Fern-Gatherers,"  "  Weald  of  Kent,"  "  Windsor  Castle,"  "  Hay-Time," 
etc. 

"  With  equal  gratitude  I  look  to  the  drawings  of  David  Cox,  which,  in  spite  of  the  loose 
and  seeming  careless  execution,  are  not  less  serious  in  their  meaning  nor  less  important  in 

their  truth  There  is  no  other  means  by  which  his  object  can  be  obtained  :  the 

looseness,  coolness,  moisture  of  his  herbage  ;  the  rustling,  crumpled  freshness  of  his 
broad-leaved  herbage;  the  play  of  pleasant  light  across  his  deep  heathered  moor  or  plash- 
ing sand;  the  melting  of  fragments  of  white  mist  into  the  deepening  blue  above;  all  this 
has  not  been  fully  recorded  except  by  him,  and  what  there  is  of  accident  in  his  mode  of 
reaching  it  answers  gracefully  to  the  accidental  part  of  Nature  herself. "  —  Ruskin's 
Modem  Painters. 

"  Indeed,  as  far  as  he  goes,  Cox  is  one  of  the  most  natural  of  painters.  His  effects  of 
rain,  of  storm,  of  sunshine,  in  fact,  of  any  of  the  changing  aspects  of  nature,  are  wonder- 
ful, but  for  the  things  that  are  seen  under  these  varied  effects  he  cared  but  little.  In 
Bettws-y-coed  to  this  day  are  shown  with  pride  the  sites  of  many  of  his  noted  landscapes, 
but  it  requires  the  eye  of  faith  to  see  the  resemblance.  In  fact,  his  art  is  somewhat  in- 
complete. "  —  London  Examiner,  December,  1877. 

Cox,  David,  Jr.  (Brit.)  Son  of  the  preceding.  A  water-color 
artist,  inheriting  not  a  little  of  his  father's  ability.  He  has  been  for 
some  years  an  Associate  of  the  Society  of  Painters  in  Water-Colors. 
,  Among  his  earlier  works  may  be  mentioned,  "  Near  Bala,"  "  Moon 
iRising,"  "  View  on  the  Menai,"  in  1872  ;  "  Loch  Katrine  "  and  "  Ben 
Lomond,"  in  1873  ;  "  Sunday  Morning  in  Wales  "  and  "  Rain  on  the 
Berwyn,"  in  1875  ;  "  Lyndale,"  "  The  Path  up  the  Valley,"  and  "  On 
the  Dee,"  in  1877  ;  "A  Hay-Field  near  Bromley"  and  "  Penshurst 
Park,"  in  1878.  His  "  Doune  Castle"  and  "Mountain  Solitude" 
were  at  Philadelphia  in  1876. 

Craig,  Isaac  Eugene.  (Am.)  Born  near  Pittsburg,  where  he  re- 
ceived his  first  instruction  in  art,  studying  afterwards  in  Philadelphia. 
He  went  abroad  in  1853  with  the  intention  of  devoting  himself  to  the 
German  school,  but  a  few  days  spent  in  the  Louvre  changed  Ins 
ideas,  and  he  remained  in  the  French  capital  for  some  time  with  Wil- 


168     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


liam  Babcock,  visiting  also  Germany  and  Italy,  and  returning  to  the 
United  States  in  1855.  He  painted  "Saul  and  David,"  "Death  the 
Rewarder,"  "Death  the  Avenger,"  followed  by  the  "Emigrant's 
Grave,"  which  were  exhibited  in  Philadelphia  and  elsewhere,  and  were 
well  received.  In  1862  he  went  again  to  Europe,  spending  a  year  in 
Munich,  and  finally  settling  in  Florence,  where  his  studio  now  is  (1878). 
Among  his  later  works  are,  "The  Daughter  of  Jairus,"  "The  Brazen 
Serpent "  (now  in  Philadelphia),  "  Capio  Begging  "  and  "  Fete  Cham- 
petre  "  (both  for  Miss  Mayo  of  London),  "  Pastorel "  (for  Mrs.  T.  B. 
Lawrence),  "Pygmalion"  (owned  in  England),  "Disillusion,"  "Shy- 
lock  signing  the  Bond,"  "  Peace,"  "  The  Easter  Hymn,"  and  a  life- 
sized  group,  "Venus  and  Cupid"  (not  yet  finished).  He  has  painted 
also  a  few  landscapes  and  views  of  Venice.  His  works  have  been 
rarely  exhibited  in  public.  The  "  Pygmalion  "  was  sent  to  London 
and  to  Dublin. 

"Mr.  Craig  has  been  in  Florence  fifteen  years,— a  conscientious,  faithful,  and  able  artist, 
whose  work  will  bear  the  most  critical  examination.  He  was  at  work  on  a  sweet  pic- 
ture when  I  called  at  his  studio,  a  beautiful  girl  with  a  sunny  face  and  golden  ringlets, 
holding  in  her  hand  an  emblem  of  '  Peace. '  He  has  made  a  fine  portrait  of  the  late  Joel 
T.  Hart,  the  Kentucky  sculptor,  and  some  fine  views  of  Venice,  very  characteristic  and 
striking."  —  Iren^eus,  in  New  York  Observer,  January  24,  1878. 

Craig,  William.  {Brit- Am.)  Born  at  Dublin,  1829.  Drowned 
accidentally  in  Lake  George,  N.  Y.,  1875.  A  water-color  artist  whose 
works  were  first  exhibited  at  the  Royal  Gallery  in  Dublin  in  1846, 
his  pictures  being  popular  in  his  own  country.  He  settled  in  New 
York  in  1863,  and  was  one  of  the  original  members  of  the  American 
Society  of  Water-Color  Painters.  In  1867  he  exhibited  "  Mount 
Washington "  and  "  A  View  of  Coldspring "  (belonging  to  R.  P. 
Parrott)  ;  in  1868,  "Ruins  of  Fort  Ticonderoga  "  ;  in  1869,  "  Upper 
Valley  of  Killarney,  Ireland  "  and  "  The  Valley  of  the  Rocks,  Pater- 
son,  N.  J."  (belonging  to  Morgan  Dix,  D.  D.) ;  in  1870, "  On  the  Hudson  " ; 
in  1871,  "  Hudson  River  near  West  Point  "  ;  in  1872,  "  O'Sullivan's 
Cascade,  Killarney"  and  "  Metzingeis  Cascade,  near  Fishkil],  N.  Y."  ; 
in  1875,  "Falls  on  the  Boquet  River"  and  "  Kilchurn  Castle,  Scot- 
land." 

"Craig's  early  pictures  were  admirable  specimens  of  the  art,  tender,  yet  brilliant  in 
tone,  and  possessed  of  that  peculiar  transparency  of  coloi'ing  which  is  so  noticeable  in 
the  works  of  the  English  school.  Of  late,  however,  he  painted  almost  exclusively  for 
auction-dealers,  and  his  work  appeared  to  lose  in  quality  as  it  increased  in  quantity, 
which  was  unfortunate,  as  he  was  unquestionably  a  man  of  genius."  —  Art  Journal,  Oc- 
tober, 1875. 

Cranch,  Christopher  P.,  N.  A.  {Am.)  Born  at  Alexandria,  Va., 
1813.  Graduated  at  the  School  of  Divinity,  Cambridge,  Mass.,  in 
1835.  He  retired  from  the  ministry  in  1842,  and  became  a  landscape- 
painter.  He  spent  several  years  in  Paris  and  in  Italy  in  the  study 
and  practice  of  his  profession.  Has  resided  in  New  York  and  on  the 
banks  of  the  Hudson,  and  at  present  is  a  resident  of  Cambridge, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  169 


Mass.  (1878).  He  is  well  known  as  a  graceful  writer  in  prose  and 
verse,  and  has  illustrated  with  his  pencil  fairy  tales  of  his  own  com- 
position. He  is  an  Associate  Member  of  the  American  Society  of 
Painters  in  Water-Colors. 

To  the  National  Academy,  of  which  he  was  made  a  full  member 
in  1864,  he  is  a  frequent  contributor,  exhibiting  in  1867,  "Afternoon 
in  October";  in  1868,  "The  Washington  Oak,  opposite  Newburg, 
N.  Y.";  in  1869,  "  Valde  Moline,  Amain,  Italy"  ;  in  1870,  "Venice," 
"  A  Roman  Citizen,"  "  Neapolitan  Fisherman,"  and  a  "  Study  in  the 
Forest  of  Fontainebleau  "  ;  1871,  "  Venetian  Fishing-Boats." 

"  Cranch  has,  during  his  ten  years  of  exile,  executed  many  admirable  landscapes ; 
those  devoted  to  Swiss  and  Italian  scenery  have  been  justly  admired  for  their  grace, 

quiet  truth,  and  ideal  charm  He  has  painted  numerous  views  of  Venice,  several 

fruit-pieces  and  other  compositions,  with  attractive  little  bits  of  local  scenery."  —  Tuck- 
ekman's  Book  of  the  Artists. 

Cranch,  John,  A.  N.  A.  (Am.)  Brother  of  C.  P.  Cranch,  N.  A. 
Devotes  himself  to  portrait-painting,  and  has  lived  for  many  years  in 
Washington,  D.  C.  His  works  of  late  have  rarely  been  publicly  ex- 
hibited.   He  is  an  Associate  Member  of  the  National  Academy. 

Cranch,  Caroline  A.  (Am.)  Daughter  and  pupil  of  C.  P. 
Cranch,  studying  also  for  some  time  in  the  schools  of  the  Cooper  Insti- 
tute, New  York,  and  under  William  Hunt  in  Boston.  At  present 
(1884)  a  resident  of  Cambridge,  Mass.  She  paints  figure-pieces,  and 
is  a  young  artist  of  much  promise,  exhibiting  annually  at  the  Boston 
Art  Club. 

Crane,  Walter.  (Brit.)  Born  at  Liverpool,  1845.  He  received 
his  first  instructions  in  art  from  his  father,  Thomas  Crane,  a  well- 
known  portrait-painter  of  Chester,  and  member  of  the  Liverpool  Acad- 
emy. Later,  he  studied  for  three  years  under  W.  J.  Linton.  His 
professional  life  has  been  spent  chiefly  in  London.  In  the  autumn  of 
1871  he  went  to  Italy,  remaining  until  the  spring  of  1873,  and  spend- 
ing his  winters  in  Rome.  In  1878  he  was  elected  a  member  of  the 
Committee  of  the  Dudley  Gallery.  Among  the  more  important  of 
his  pictures  in  oil  are,  "  The  Renaissance  of  Venus,"  at  the  Gros- 
venor  Gallery  of  1877,  and  "  The  Fate  of  Proserpine,"  at  the  Grosvenor 
Gallery  of  1878.  In  water-colors  he  has  painted,  "  The  Herald  of 
Spring,"  Dudley  Gallery,  1 873  ;  "  The  Advent  of  Spring,"  never  ex- 
hibited ;  "  Plato's  Garden,"  Dudley  Gallery,  1875  ;  and  "  Winter  and 
Spring,"  at  the  Dudley  Gallery  in  1874  and  the  Grosvenor  in  1877. 
To  the  Paris  Exposition  of  1878  he  sent  "  The  Death  of  the  Year  "  and 
"Almond-Trees,"  in  water-colors,  and  "The  Renaissance  of  Venus," 
ai  oil. 

In  America,  where  his  more  elaborate  paintings  are  not  seen,  he  is 
best  known  by  the  publication  of  his  series  of  children's  books,  with 
their  very  clever  illustrations  ;  among  others,  "  Cinderella,"  "  Beauty 
and  the  Beast,"  "  Goody  Two-Shoes,"  "  Baby's  Opera,"  "  Mrs.  Mundi 


170     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


at  Home,"  etc.  These  pictures  are  much  used  in  the  United  States 
in  house  decoration,  on  fire-screens,  chimney-pieces,  etc. 

"Mr.  Walter  Crane  is  a  painter  of  figures  in  landscape,  whose  work  we  have  often  no- 
ticed with  pleasure  for  its  fine  feeling  and  imaginative  charm  His  '  Herald  of 

Spring '  is  a  pleasant,  semi-classic  dream  of  a  Flora  or  Spring,  in  a  robe  of  pale  yellow 
and  a  scarf  of  pale  rose,  coming  down  an  Italian  street  from  the  open  country,  with  a 
basket  of  primroses  in  one  hand  and  a  spray  of  flowering  thorn  in  the  other."  —  Pall 
Mall  Budget,  March  8,  1873. 

"  Mr.  Walter  Crane  is  one  of  the  cleverest  of  the  younger  English  artists,  and  he  has 
j>ut  his  talent  to  the  best  employment  in  inventing  pictures  for  the  old  stories  of 
Mother  Goose,  etc.  These  pictures  are  printed  in  colors,  and  as  for  the  most  part  only 
pure  tints  are  used  the  effect  is  delightfully  bright  aud  cheerful.  Mr.  Crane  has  a  good 
eye  for  harmony,  and,  altogether,  a  parent  might  seek  a  long  while  before  he  would  find 
a  better  educator  for  his  child's  sense  of  form  and  color  than  is  supplied  by  these  books. 
They  are  sure  to  be  as  much  enjoyed  by  the  grown  folk  as  by  the  little  ones,  and  such 
great  favorites  are  they  in  England  that  the  pictures  have  been  used  there  as  decorations 
for  walls." — New  York  Tribune,  December  28,  1875. 

Crauk,  Gustave-Adolphe-D^sird  (Fr.)  Born  at  Valenciennes, 
about  1825.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  l'Ecole  des 
Beaux- Arts  under  Pradier.  He  gained  the  prix  de  Rome  in  1851.  He 
made  his  debut  at  the  Salon  of  1857  with  a  very  remarkable  bronze 
group  of  a  "Bacchante  and  a  Satyr."  In  1861  he  was  commissioned 
to  decorate  the  Mayoralty  of  the  first  arrondissement  of  Paris.  In 
1877  he  exhibited  a  marble  statue  of  Marshal  MacMahon  and  a  bronze 
statue  of  Marshal  Niel  for  the  city  of  Muret,  and  a  marble  statue  of 
Claude  Bourgelat  for  the  Veterinary  School  at  Alfort ;  in  1875,  a  mar- 
ble bust  of  General  Changarnier,  one  of  E.  Gilbert,  and  one  of  M.  P.; 
in  1874,  a  bust  portrait  of  Marshal  MacMahon,  bronze  bust  of  the 
Shah  of  Persia,  a  plaster  statue  of  the  Intendant  of  Etigny,  and  a 
marble  bust  of  a  lady ;  in  1872,  a  bronze  statue  of  J.  P.  Bachasson, 
Count  of  Montalivet,  commissioned  by  the  city  of  Valence,  and  a 
marble  bust  of  General  the  Baron  Renoult,  etc.  His  "  Victory  crown- 
ing the  French  Standard,"  "  Bacchus,"  and  a  bust  of  a  child  are  in 
the  Luxembourg. 

Crawford,  Thomas.  (Am.)  Born  in  New  York  (1814- 1857). 
He  manifested  a  taste  for  art  at  an  early  age,  and  went  to  Italy  in 
1834,  settling  in  Rome.  He  enjoyed  the  friendship  and  instruction 
of  Thorwaldsen.  In  1839  he  designed  his  "  Orpheus,"  which  is  now 
in  the  Boston  Museum  of  Fine  Arts.  Among  his  works  are,  "  Adam 
and  Eve  after  the  Expulsion"  and  a  bust  of  Josiah  Quincy,  both  in 
the  Boston  Athenaeum  ;  statue  of  Beethoven,  in  the  Boston  Music 
Hall ;  "  Children  of  the  Wood,"  belonging  to  Hamilton  Fish  ;  "  Danc- 
ing Jenny,"  "  Genius  of  Mirth,"  "  Indian  Woman,"  "  Pandora,"  "  Cu- 
pid," "  Peri,"  "  Daughter  of  Herodias,"  "  Hebe  and  Ganymede," 
presented  to  the  Boston  Museum  of  Fine  Arts  by  C.  C.  Perkins, 
"Mercury  and  Psyche,"  "Truant  Boys,"  etc.  His  "Flora"  is  in 
the  Central  Park,  New  York,  where  are  also  eighty-seven  plaster  casts 
of  his  works,  presented  to  the  Museum  there  by  his  widow.    The  most 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  171 


elaborate  of  his  monumental  works  are  in  Richmond,  Va.,  and  Wash- 
ington, D.  C.  His  statue  of  Washington  was  cast  in  bronze  in 
Munich.  He  executed,  also,  many  bas-reliefs  of  scriptural  and  alle- 
gorical subjects.  Unquestionably  the  best  known  of  his  creations  is 
the  statue  of  "Liberty,"  surmounting  the  dome  of  the  Capitol  at 
Washington. 

"  No  American  subject  has  been  treated  in  marble  with  such  profound  local  signifi- 
cance as  the  '  Indian  Chief,'  a  statue  by  Crawford,  now  most  appropriately  occupying 
the  Entrance  Hall  of  the  New  York  Historical  Society  ;  and  no  more  judicious  compli- 
ment to  the  artist's  fame  can  be  imagined  than  the  English  sculptor  Gibson's  proposal 
at  the  meeting  of  artists  at  Rome,  called  to  pay  a  last  tribute  to  Crawford's  memory,  that 
this  statue  should  be  cast  in  bronze  and  set  up  as  a  permanent  memorial  of  his  national 
fame  in  one  of  the  squares  of  the  Eternal  City.  The  attitude,  air,  and  expression,  the 
grand  proportions,  the  aboriginal  type  of  form  and  feature,  the  bowed  head,  the  clenched 
hand,  the  stoical  despair  of  this  majestic  figure,  adequately  and  eloquently  symbolize  the 
destruction  of  a  race,  and  mark  the  advent  of  civilization  on  this  continent."  —  Tuck- 
erman's  Book  of  the  Artists. 

"  Crawford  was  an  artist  gifted  with  a  prolific  invention  ;  indeed,  his  invention  too 
often  ran  away  with  his  judgment  as  a  careful  workman,  that  is,  it  induced  him  to 
undertake  more  than  it  was  possible  for  him  to  execute  in  his  best  manner ;  and  his 
artistic  education  was  much  more  complete  than  that  of  any  previous  American  sculptor 
had  been.  He,  however,  attempted  too  much,  and  did  too  much,  for  the  work  to  be 
thoroughly  well  clone."  —  William  J.  Clarke,  Jr.,  Great  American  Sculptors. 

Crawford,  William.  (Brit.)  Native  of  Ayr,  Scotland.  Died 
comparatively  a  young  man  in  1869.  He  was  educated  at  the  Trus- 
tees Academy  in  Edinburgh,  teaching  drawing  in  the  same  institution 
in  later  years.  He  studied  for  two  years  in  Rome,  and  was  elected  an 
Associate  of  the  Royal  Scottish  Academy  in  1860.  He  painted  por- 
traits and  genre  pictures  ;  among  the  better  known  of  the  latter  are, 
"  More  Free  than  Welcome,"  "  Too  Late,"  "  The  Wishing-Pool,"  "  The 
Return  from  Maying,"  "  The  Highland  Keeper's  Daughter,"  and 
"  Waiting  for  the  Ferry." 

Creswick,  Thomas,  R.  A.  (Brit.)  Born  in  Sheffield  (1811-1870). 
Studied  drawing  in  Birmingham.  Went  to  London  when  quite  young, 
and  first  exhibited  at  the  Royal  Academy  in  1828.  Among  his  early 
works  are,  "  The  London  Road  a  Hundred  Years  Ago,"  "  A  Rocky 
Stream,"  "Home  by  the  Sands,"  and  "A  Squally  Day."  He  was 
elected  Associate  of  the  Royal  Academy  in  1842,  and  Academician 
in  1851.  In  1860  he  exhibited  "  A  Roughish  Road  "  ;  1861,  "  In 
the  North  Countrie  "  ;  1863,  "  Crossing  the  Stream  "  ;  1864,  "  On  the 
Clyde  "  ;  1865,  "  The  Village  Smithy  "  ;  1866,  "  A  Breezy  Day  on  the 
English  Coast,"  in  which  picture  the  figures  were  painted  by  R.  Ans- 
dell.  In  1868  he  sent  "  A  Bend  in  the  River  "  ;  in  1869,  "  Sunshine 
and  Showers,"  the  figures  by  J.  W.  Bottomley.  In  1870,  after  his 
death,  two  pictures  were  exhibited,  "  Mill  near  Whitby  "  and  "  After- 
noon." In  the  National  Gallery,  London,  is  his  "  Pathway  to  the 
Village  Church,"  painted  in  1839  ;  and  in  the  Sheepshanks  Collection 
are  his  "  Summer's  Afternoon  "  and  "  Mountain  Stream,  Perthshire," 
painted  in  1844. 


172     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  I  am  very  far  from  calling  Creswick's  good  tree  painting;  it  is  false  in  color  and  defi- 
cient in  mass  and  freedom,  and  has  many  other  defects,  but  it  is  the  work  of  a  man  who 

has  sought  earnestly  for  truth  Look  at  the  intricacy  and  fullness  of  the  dark  oak 

foliage  where  it  blends  over  the  brook,  see  how  you  can  go  through  it  and  into  it,  and 
come  out  behind  it  to  the  quiet  bit  of  sky."  —  Ruskin's  Modem  Painters. 

"  Creswick  was  seldom  a  powerful  landscape-painter,  but  he  was  always  charming,  and 
this  little  group  of  trees  and  low  irregular  wall  and  little  glimpse  of  smooth  water  ['  A 

Roughish  Road  by  the  Lake-Side  ']  have  a  certain  sweetness  of  their  own  Creswick 

etched  very  prettily,  but  his  work  was  very  distantly  related  to  the  greater  art  which  has 
sometimes  occupied  our  thoughts."  —  Hamerton's  Etching  and  Etchers. 

Cretius,  Constantine  Johann  Franz.  (Ger.)  Born  at  Brieg, 
1814.  Member  and  Professor  of  the  Berlin  Academy.  Gold  medal  at 
Berlin.  Studied  at  the  Academy  of  Berlin,  and  under  Wach  ;  gained 
a  prize  which  entitled  him  to  go  to  Eome.  He  traveled  in  the  East. 
His  subjects  are  historical,  genre,  and  portraits.  His  works  are  well 
composed,  his  coloring  is  pleasing,  his  drawing  good,  and  his  popular- 
ity considerable.  In  the  National  Gallery  at  Berlin  are,  "  The  .Refresh- 
ing Draught "  and  "  Cavaliers  who  have  been  taken  Prisoners  and 
brought  before  Cromwell."  Among  his  works  are,  "  A  Theater  Scene 
in  the  Time  of  Louis  XIV."  and  an  Italian  genre  picture. 

At  the  Berlin  Exposition  of  1876  he  exhibited  "The  Wedding- 
Journey  in  Italy  "  and  "  A  Pleasure-Trip  in  Switzerland." 

Crofts,  Ernest,  A.  R.  A.  (Brit.)  Born  at  Leeds,  1847.  He  was 
a  pupil  of  A.  B.  Clay  in  London,  later  studying  under  Emil  Hunten 
in  Diisseldorf,  where  he  has  resided  since  1870.  He  devotes  himself 
to  military  subjects,  sending  to  the  Royal  Academy  in  1874,  "  A  Re- 
treat " ;  1875,  "Ligny"  ;  1876,  "  The  Morning  of  Waterloo  "  (belong- 
ing to  Col.  Bolton)  ;  1877,  "  Cromwell  at  Marston  Moor  "  (belonging 
to  John  Rhodes  of  Leeds)  ;  and  in  1878,  "  Wellington's  March  from 
Quatre  Bras  to  Waterloo,"  on  the  strength  of  which  he  was  elected  an 
Associate  of  the  Royal  Academy.  "  The  Retreat "  is  now  in  the  Town 
Gallery,  Konigsberg,  Prussia  ;  "  Ligny  "  was  at  Philadelphia  in  1876  ; 
"  The  Morning  of  Waterloo,"  at  Paris  in  1878. 

"  'The  Retreat,'  by  E.  Crofts,  is  a  very  well  conceived  and  well  painted  picture  of  a 
terrified  rush  of  artillery,  mixed  with  cavalry  and  infantry,  along  a  narrow  raised  road 
by  the  side  of  a  swamp,  into  which  some  of  the  fugitives  are  being  forced  by  the  fright- 
ened team  and  riders."  —  London  Times,  May,  1874. 

"  The  most  able  military  picture  of  the  year  is  '  The  Morning  of  the  Battle  of  Water- 
loo,' by  E.  Crofts.  The  point  of  station  is  the  center  of  the  French  position,  at  early 
morning  of  the  memorable,  decisive  day,  under  a  dull  sky  laden  with  rain,  when  Napo- 
leon, surrounded  by  his  marshals,  is  making  preparations  for  the  final  struggle.  ....  In 
all  respects  this  is  a  thoroughly  well-considered,  soundly  painted  picture."  —  Illustrated 
London  News,  May  13,  1876. 

"  Since  Miss  Thompson's  '  Roll-Call '  battle-pictures  have  been  rather  a  feature  of  the 
Academy  Exhibitions,  but  none  of  them  can  be  said  to  possess  the  artistic  qualities  of 
Mr.  Crofts'  'Wellington's  March  from  Quatre  Bras  to  Waterloo.'  ....  Highly  dramatic 
and  striking  in  effect,  and  free  from  the  superabundance  of  sickening  details  usually  in- 
troduced into  similar  subjects,  there  is  still  sufficient  indication  of  the  attendant  cir- 
cumstances to  carry  the  imagination  of  the  spectator  into  the  scene  the  painter  has 
delineated.    Some  recognition  is  certainly  due  of  the  technical  ability  exhibited  by  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  173 


artist,  who  has  painted  every  detail  in  the  remarkable  picture  with  truthfulness  and 
power."  —  London  Athenaeum,  May  18,  1878. 

Cromek,  Thomas  Hartley.  (Brit)  Son  of  Robert  Hartley 
Cromek,  a  well-known  engraver  of  the  early  part  of  this  century. 
Thomas  H.  Cromek  was  born  in  London  (1809  - 1873).  He  devoted 
himself  to  art  at  an  early  age,  going  to  Italy  when  about  twenty-one, 
and  remaining  in  study  and  in  the  practice  of  his  profession  in  Rome 
until  1849,  when  he  returned  to  London.  In  1850  he  became  an 
Associate  of  the  Institute  of  Painters  in  Water-Colors,  contributing 
regularly  to  its  annual  exhibitions.  His  last  works  there  were, 
"  Porta  della  Carta,  Venice,"  and  "Warwick  Castle,"  in  1872. 

Cropsey,  Jasper  F.,  N.  A.  (Am.)  Born  at  Staten  Island,  1823. 
Was  in  an  architect's  office  for  five  years,  when  he  turned  his  attention 
to  the  study  of  landscape-painting.  In  1847  he  went  to  Europe, 
spending  three  years  in  Italy.  In  1851  he  was  made  a  full  member 
of  the  New  York  Academy  of  Design.  In  1857  he  went  again  to 
Europe,  living  in  London  in  the  practice  of  his  profession  until  1863, 
sending  to  the  Royal  Academy  there,  in  1857,  his  "  Backwoods  of 
America  ";  and  in  other  seasons,  "  Autumn  on  the  Hudson,"  which  was 
also  at  the  International  Exhibition  of  1862  ;  "  Richmond  Hill,  — 
Midsummer  "  ;  "  Autumn  in  the  White  Mountains  "  ;  "  Corfe  Castle, 
Dorset";  "Under  the  Cliff";  "Sea-Coast,"  and  "Roadside"  (a 
series  of  views  at  Bonchurch,  Isle  of  Wight).  Among  other  Eng- 
lish works  of  his  may  be  mentioned,  "  Stoke  Pogis,"  "  Warwick  Cas- 
tle," "  The  Olden  Time,"  and  "  Anne  Hathaway's  Cottage  "  (purchased 
by  Edwin  Booth).  After  his  return  to  America  he  devoted  himself 
particularly  to  the  painting  of  autumn  scenery,  exhibiting  at  the  Na- 
tional Academy,  in  1868,  "  Mount  Jefferson,  New  Hampshire  "  (be- 
longing to  R.  M.  Olyphant,  a  picture  which  was  at  the  Paris  Exposi- 
tion of  1867).  In  1869  he  sent  to  the  National  Academy,  "A  Coast 
Scene";  in  1870,  "Greenwood  Lake"  and  "The  Narrows  from 
Staten  Island"  ;  1871,  "  A  Lake  Scene  "  (the  property  of  Alexander 
Stuart)  ;  1874,  "  On  the  Wawayanda  "  ;  1875,  "  Southern  Italy  "  and 
"  Sidney  Plains  "  (painted  for  John  N.  Johnston)  ;  in  1876,  "  Autumn 
on  the  I^amapo  "  ;  in  1877,  "  Lake  George,"  "  Greenwood  Lake,"  and 
"The  Temple  of  Psestum"  ;  in  1878,  "Cedar  Lake,  Wawayanda 
Mountains." 

To  the  Exhibitions  of  the  American  Society  of  Painters  in  Water- 
Colors,  of  which  he  was  one  of  the  original  members,  he  sent  in  1868, 
"  A  Sketch,  Isle  of  Wight  "  ;  in  1869,  "  White  Mountain  Scenery"  j 
in  1877,  "  Lake  Scene  "  ;  in  1878,  "  On  the  St.  Lawrence  River." 

His  "  Wawanda  Hills  in  Autumn  "  belongs  to  Major  Theodore 
Gibbs  of  New  York. 

"  The  result  is  a  flue  picture  [Cropsey's  '  Autumn  on  the  Hudson '  ]  full  of  points  that 
are  new  without  being  wholly  foreign  and  strange  to  the  European  eye.  It  will  take  the 
ordinary  observer  into  another  sphere  and  region,  while  its  execution  will  bear  any  tech- 
nical criticism."  —  London  Times,  1862. 


174     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  We  congratulate  Mr.  Cropsey  on  having  produced  a  charming  picture  ['  Richmond 
Hill ']  of  a  very  charming  spot,  the  first  view  of  which  leaves  with  the  impressionable 
observer  a  bright  remembrance  never  to  be  destroyed."  —  London  Builder,  1862. 

"  Mr.  Cropsey  contributed  '  The  Old  Mill'  and  '  Italy,'  two  pictures  very  cleverly  ren- 
dered, though  with  a  peculiar  manipulation  characteristic  of  his  style,  which  is  often 
pleasing."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

Cross,  John.  {Brit.)  (1819  -  1861.)  As  a  child  he  was  taken 
by  his  family  to  St.  Quentin,  France,  and  received  his  first  instruction 
in  art  in  the  School  of  Design  there  ;  later,  he  became  a  pupil  of 
Picot  in  Paris.  In  1847  he  obtained  a  prize  from  the  British  govern- 
ment for  his  "  Richard  at  the  Siege  of  Calais,"  which  is  in  Westmin- 
ster Palace,  and  which  was  engraved  at  the  expense  of  the  Fine- Arts 
Commission.  In  1850  he  sent  to  the  Eoyal  Academy,  "  The  Burial 
of  the  Sons  of  Edward  IV.  in  the  Tower"  ;  in  1853,  "  The  Death  of 
Thomas  a  Becket"  ;  and  in  1858,  his  last  work,  "  The  Coronation  of 
William  the  Conqueror."  Among  his  other  pictures  are,  "Lucy 
Preston  imploring  the  Pardon  of  her  Father "  ;  "  Edward  the  Con- 
fessor naming  Harold  as  his  Successor  "  ;  and  a  "  Storm  Scene  on  the 
Cliffs,"  rejected  by  the  Royal  Academy  in  1860. 

"  Cross  was  one  of  the  most  promising  of  our  historical  painters,  but  his  constitution 
proved  too  weak  for  the  wear  and  tear  of  his  arduous  career. "  —  Wornum's  Epochs  of 
Painting. 

Crowe,  Eyre,  A.  R.  A.  {Brit.)  Born  at  Chelsea,  1824.  Studied 
under  Paul  Delaroche  in  Paris,  and  went  with  his  master  to  Rome  in 
1843,  returned  to  London  in  1844,  and  entered  the  schools  of  the 
Royal  Academy  the  same  year.  His  first  picture,  "  Master  Prynne 
searching  the  Pockets  of  Archbishop  Laud  in  the  Tower,"  was  ex- 
hibited at  the  Royal  Academy  in  1846.  Among  his  earlier  works  are, 
"  The  Roman  Carnival,"  in  1848  ;  "  Holbein  painting  Edward  VI.," 
in  1849.  In  1859  he  exhibited  "  Milton  visiting  Galileo  in  Prison  "; 
in  1860,  "Boswell's  Introduction  to  the  Club"  and  "Swift  reading 
a  Letter  from  Stella"  ;  in  1861,  "A  Virginia  Slave-Sale"  and  "A 
Barber's  Shop  "  (from  sketches  made  in  the  United  States,  a  few  years 
before).  In  1862  he  sent  to  the  Royal  Academy,  "  De  Foe  in  the 
Pillory";  in  1863,  "Brick  Court,  Middle  Temple,  April,  1774," 
representing  the  burial  of  Goldsmith  ;  in  1864,  "  Luther  posting  his 
Theses  on  the  Church-Door  of  Wittenberg"  ;  and  in  1867,  "  Charles 
II.  knighting  the  Loin  of  Beef."  Many  of  these  pictures,  careful  in 
treatment  and  popular  in  subject,  have  been  engraved.  He  exhibited 
at  the  Royal  Academy,  in  1870,  "The  Vestal"  ;  in  1871,  "Old  Mor- 
tality" ;  in  1872,  "  Out  of  School"  ;  in  1873,  "Tethered"  ;  in  1875, 
"A  Sheep-Shearing  Match"  ;  in  1876  (when  he  was  elected  an  Asso- 
ciate of  the  Royal  Academy),  "  Darning  Day,  Red  Maid's  School, 
Bristol";  in  1877,  "Sanctuary,"  "Silkworms"  (Blue-Coat  Boys), 
and  "Prayer";  in  1878,  "The  School-Treat."  His  "Goldsmith's 
Mourners  "  and  "  After  a  Run  "  were  at  Philadelphia  in  1876.  "  The 
French  Savants  in  Egypt "  was  at  Paris  in  1878. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  175 


*'  This  artist  has  a  dry  and  hard  handling,  and  appears  to  take  little  pleasure  in  his 
color,  although  what  he  gives  honestly  attempts  to  render  natural  lighting,  —  a  rarer 
quality  than  one  might  imagine  among  oil-painters,  sorely  tempted  to  get  effects  by  in- 
genious devices  which  they  know  will  often  pass  muster  We  would  suggest  that 

this  picture,  '  Preaching  of  Whitfield'  [R.  A.,  1864]  would  engrave  well,  and  be  likely 
to  succeed."  —  Palgrave's  Essays  on  Art. 

"There  are  few  painters  who  more  seriously  endeavor  to  interpret  their  subjects  than 
Mr.  Crowe.  He  is  not  afraid  of  reality,  and  does  not  shrink  from  scenes  that  less  robust 
minds  would  consider  vulgar.  His  method  of  interpretation  is  studious  and  faithful, 
observant  of  truth  without  any  temptation  to  display  his  mastery  over  facts  by  an 
emphasis  of  trivial  incidents.  His  work  lacks  the  highest  inspiration  which  turns  the 
forms  of  Nature  into  forms  of  grace  and  still  keeps  them  true  ;  but  his  pictures  are  al- 
ways interesting  from  the  amount  of  earnest  work  they  contain." — Art  Journal, 
August,  1874. 

Crowninshield,  Frederic.  (Am.)  A  native  of  Boston.  He  did 
not  turn  his  attention  to  art  as  a  profession  until  1867,  when  he  went 
to  London  and  studied  water-color  drawing  there,  under  Rowbotham, 
devoting  himself  to  landscape-painting  in  that  medium  and  in  oils. 
Later  he  went  to  Rome,  where  he  became  a  pupil  of  Benouville.  In 
1872  he  entered  l'Ecole  des  Beaux-Arts  in  Paris,  and  was  for  three 
months  in  the  studio  of  Cabanel.  About  this  time  he  took  up 
figure-painting,  which  has  since  been  his  specialty.  He  has  painted 
for  some  time  under  Couture  at  Villiers-le-Bel,  spending  his  winters 
at  Rome  and  Siena.  He  exhibited  for  the  first  time  in  public,  at  the 
Paris  Salon  in  1878,  a  portrait  group  of  an  allegorical  character. 
Many  of  his  water-colors  are  in  private  collections  in  Boston,  where 
they  are  much  admired.  He  has  been  appointed  Instructor  in  the 
Art  School  connected  with  the  Museum  of  Fine  Arts  in  Boston. 

"  At  Doll  &  Richards',  in  the  small  gallery,  will  be  found  an  exhibition  of  water-colors 
by  Mr.  Frederic  Crowninshield,  who  has  recently  returned  from  an  extended  tour  in 
Europe.  It  is  one  of  the  most  interesting  little  collections  ever  exhibited  in  Boston. 
He  has  presented  a  variety  of  subjects,  all  of  which  he  has  treated  more  or  less  broadly, 
but  some  more  delicately  than  others.  This  collection  shows  that  Mr.  Crowninshield  is 
an  admirable  artist,  and  one  of  whom  we  have  a  right  to  expect  much  in  future. "  — • 
Boston  Daily  Advertiser,  November  12,  1878. 

Cruikshank,  George.  (Brit.)  Born  in  London  (1792-1878). 
Son  of  an  English  caricaturist.  Upon  his  father's  death,  in  order  to 
support  his  family,  he  became  his  successor.  He  received  no  instruc- 
tion in  art.  His  first  work  was  a  series  of  political  caricatures,  many 
of  them  relating  to  the  trial  of  Queen  Caroline,  in  1820  and  '21.  His 
illustrations  of  Pierce  Egan's  "  Life  in  London  "  and  Grimm's  "Fairy 
Tales,"  a  few  years  later,  first  brought  him  decided  popular  recogni- 
tion. The  amount  of  work  of  this  kind  which  he  has  done  is  enor- 
mous ;  among  the  better  known  are  Dickens'  "  Sketches  by  Boz"  and 
"  Oliver  Twist,"  "  The  Tower  of  London,"  "  Jack  Shepherd,"  "  Wa- 
verley  Novels,"  "  British  Novelist,"  "  Life  of  Grimaldi,"  etc.  In  1842 
he  published  the  famous  series  of  eight  temperance  prints,  entitled 
the  "Gin  Bottle,"  quickly  followed  by  the  "Gin  Trap,"  the  "Gin 
Juggernaut,"  "  Sunday  in  London,"  and  others. 


176     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


He  did  not  paint  in  oil  until  late  in  life,  and  has  exhibited  at  the 
British  Institute  and  the  Koyal  Academy,  at  different  seasons,  "  Tita- 
nia  and  Bottom,"  "Merry  Wives  of  Windsor,"  "Cinderella,"  "  Tam 
O'Shanter,"  "  The  Fairy  Ring,"  "  Grimaldi  Shaving,"  "  The  Worship 
of  Bacchus,"  "  Disturbing  the  Congregation  "  (belonging  to  the  late 
Prince  Albert),  and  a  few  more.  A  collection  of  his  works  of  every  de- 
scription was  on  exhibition  in  London  in  1876,  from  his  drawing  when 
a  boy  of  eight  years  to  his  last  production  ;  a  remarkable  display  of 
the  labors  of  one  man,  showing  the  wide  range  of  his  subjects  and  the 
versatility  of  his  genius.  His  "  Worship  of  Bacchus  "  is  in  the  Na- 
tional Gallery,  London. 

"  Cruikshank's  '  Noah  Claypole,'  in  the  illustrations  to  'Oliver  Twist,'  in  the  inter- 
view with  the  Jew,  is,  however,  still  more  characteristic.  It  is  the  intensest  rendering 
of  vulgarity,  absolute  and  utter,  with  which  I  am  acquainted  Among  the  reck- 
less losses  of  the  right  service  of  intellectual  power  with  which  this  century  must  be 
charged,  very  few  are,  to  my  mind,  more  to  be  regretted  than  that  which  is  involved  in 
its  having  turned  to  no  higher  purpose  than  the  illustration  of  the  career  of  'Jack  Shep- 
herd'and  of  the  'Irish  Rebellion,' the  great  graver  (I  use  the  word  deliberately  and 
with  large  meaning)  and  singular  genius  of  Cruikshank."  —  Ruskin's  Modem  Painters. 

"  '  I  think,'  said  Mr.  Dickens,  '  the  power  of  that  closing  scene  [  "  The  Bottle  "  ]  quite 
extraordinary.  It  haunts  the  remembrance  like  an  awful  reality.  It  is  full  of  passion 
and  terror,  and  I  doubt  very  much  whether  any  hand  but  his  could  so  have  rendered  it.' " 
—  Forster's  Life  of  Dickens,  Vol.  II.  p.  18. 

"  In  etching  of  this  higher  class,  Cruikshank  carries  one  great  virtue  of  the  art  to  per- 
fection, its  simple  frankness.  He  is  so  direct  and  unaffected  that  only  those  who  know 
the  difficulties  of  etching  can  appreciate  the  power  that  lies  behind  his  unpretending 
skill.  There  is  never  in  his  most  admirable  plates  the  trace  of  a  vain  effort."  —  Hamer- 
ton's  Etching  and  Etchers. 

"  Cruikshank's  deficient  education  in  art,  unremedied  by  his  efforts  far  on  in  life, 
renders  his  pictures  very  defective.  Particular  faults  attributed  to  him,  even  as  a  de- 
signer, are  want  of  drawing  of  the  human  figure,  which  he  is  apt  to  treat  with  a  carica- 
turist's free  and  easy,  because  limp  limbs,  and  vapid,  old-fashioned  faces,  and  the  ten- 
dency to  exaggerate  and  burlesque,  that  constitute  him  a  caricaturist  rather  than  a 
humorist.  But  as  a  caricaturist  he  has  many  and  great  merits."  —  Mrs.  Tytler's  Modern 
Painters. 

"  He  has  told  a  thousand  truths  in  as  many  strange  and  fantastic  ways  ;  he  has  given 
a  thousand  new  and  pleasant  thoughts  to  millions  of  people  ;  he  has  never  used  his  wit 
dishonestly  ;  he  has  never,  in  the  exuberance  of  his  frolicsome  humor,  caused  a  single 
painful  or  guilty  blush  ;  how  little  do  we  think  of  the  extraordinary  power  of  this  man, 
and  how  ungrateful  we  are  to  him  !  .  .  .  .  Look  at  one  of  Mr.  Cruikshank's  works,  and 
we  pronounce  him  an  excellent  humorist.  Look  at  all :  his  reputation  is  increased  bv 
a  kind  of  geometrical  progression,  as  a  whole  diamond  is  an  hundred  times  more  valu- 
able than  the  hundred  splinters  into  which  it  might  be  broken  would  be.  A  fine,  rough 
English  diamond  is  this,  about  which  we  have  been  writing. "  —  Thackeray,  in  Westmin- 
ster Review,  June,  1840. 

Cugnot,  Louis-Leon.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Duret  and  Diebolt.  At  the  Salon  of 
1878  he  exhibited  a  plaster  bust  of  C.  Brunnon  ;  in  1876,  a  plaster 
bust  of  Dr.  Maurice  Dunand  ;  in  1875,  a  marble  group,  "  The  Cory- 
bante";  in  1874,  a  plaster  model  of  a  monument  to  be  erected  ia 
Callao  ;  in  1878,  a  plaster  group,  "  The  Messenger  of  Love." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  177 


Cummings,  Thomas  Seir,  N.  A.    (Am.)    He  was  bom  in  the 

early  part  of  the  century,  and  was  one  of  the  founders  of  the  National 
Academy  in  1826,  being  actively  connected  with  it  until  his  retire- 
ment in  1865.  He  was  one  of  its  early  Vice-Presidents,  its  Treasurer 
from  1840  to  '45,  and  the  author  of  a  valuable  history  of  the  Insti- 
tution. He  was  a  miniature-painter  of  the  first  rank,  working  steadily 
at  that  branch  of  the  profession  until  the  introduction  of  photography. 
He  numbered  among  his  sitters  many  distinguished  people.  He  has 
instructed  several  prominent  American  artists. 

Curnock,  J.  Jackson.  (Brit.)  Born  at  Bristol,  1839.  Son  of  an 
artist,  from  whom  he  received  his  first  instructions  in  art,  studying 
also  at  the  Bristol  Academy.  His  professional  life  has  been  spent  in 
various  parts  of  Great  Britain,  his  present  home  being  in  Bristol 
(1884).  He  has  exhibited  frequently  at  the  Koyal  Academy  and  in 
provincial  galleries  for  some  years.  Among  the  better  known  of  his 
works  are,  "  Ellen's  Isle,  Loch  Katrine,"  "  Loch  Cornish,  Isle  of 
Skye,"  "Autumn"  (R.  A.,  1873),  "The  Idwal  Mountains"  and 
"Snowdon"  (R.  A.,  1877),  "The  Pool  below  the  Bridge"  (exhibited 
at  Bristol  in  1877),  "  Driving  down  the  Sheep"  (R.  A.,  1878),  etc. 

"  I  find  this  to  be  the  most  refined  landscape  of  all  here  ['  The  Llugwy  at  Capel  Curig '], 
too  subdued  in  its  tone  for  my  Own  pleasure,  but  skillful  and  affectionate  in  a  high  degree. 
....  A  calm  stream  patiently  studied.  The  distant  woods  and  hills  are  all  very  tender 
and  beautiful."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Currier,  J.  Frank.  (Am.)  He  has  studied  in  Munich.  To  the 
Society  of  American  Artists  in  1878  he  sent  "A  Bohemian  Beggar" 
and  two  landscapes. 

[No  response  to  circular.] 

Curtis,  Calvin.  (Am.)  Born  at  Stratford,  Ct.,  1822.  He  entered 
the  schools  of  the  National  Academy  in  1841,  studying  also  under  Hunt- 
ington. He  painted  portraits  in  New  York  for  some  years,  settling  in 
Bridgeport,  Ct.,  about  1850,  where  he  has  since  lived.  Among  his 
sitters  have  been  Chief  Justice  Thomas  B.  Butler,  Gen.  W.  N.  Noble, 
William  R.  Seeley,  Judge  C.  B.  Beardsley,  Gideon  H.  Hollister,  Rev. 
Nathaniel  Hewitt,  D.  D.,  and  John  Young  of  Utah. 

Curzon,  Paul  Alfred  de.  (Fr.)  Born  at  Poitiers,  1820.  Cheva- 
lier of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of 
Drolling  and  Cabat.  Curzon  sent  a  picture  to  the  Salon  of  1843  ;  he 
then  spent  a  year  in  Italy  ;  in  1849  he  took,  at  l'Ecole  des  Beaux- 
Arts,  the  second  prize  for  historical  landscape,  and  through  the  influ- 
ence of  M.  Chenavard  he  was  sent  to  Italy  for  two  years.  Before 
returning  to  France  he  went  to  Greece.  At  first  he  devoted  himself 
to  landscapes,  and  gained  no  marked  reputation  ;  at  length  he  changed 
the  subjects  of  his  pictures,  and  sent  to  the  Salon  of  1857,  "  Dante  and 
Virgil  on  the  Shores  of  Purgatory,"  "Blind  Greeks,"  "Women  of 
Piscinisco,"  and  "  An  Albanian  Woman."  This  was  the  year  of  his 
first  success,  and  he  received  a  second-class  medal.  In  the  Luxembourg 
8*  a 


178     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


are  his  "Psyche"  (1859),  "Dominicans  decorating  their  Chapel" 
(1867),  and  "  A  View  at  Ostia  during  the  Rising  of  the  Tiber  "  (1868). 
In  1877  he  exhibited  "  Graziella  "  and  "  Ruins  of  Aqueducts  on  the 
Roman  Campagna"  ;  in  1876,  "  Ruins  of  the  Temple  of  Jupiter,  near 
Athens  "  and  a  "View  from  the  Summit  of  the  Acropolis"  ;  in  1875, 
"  A  Triptych,"  being  three  scenes  from  the  life  of  Ruth  ;  in  1874, 
"  The  First  Portrait "  (suggested  by  a  passage  in  Pliny),  "  Serenade 
in  the  Abruzzis,"  "  Souvenir  of  the  Coast  of  Provence  "  ;  etc.  Curzon 
has  also  made  sketches  in  lithography,  water-colors,  and  pastels.  At 
the  Salon  of  1878  he  exhibited  "  Near  a  Public  Well,  —  Souvenir  of 
Amain"  and  "  The  Ruins  of  the  Acropolis,  Athens,  in  1852." 

**  The  '  Women  of  Piscinisco,'  busy  in  weaving  linen,  make  you  enter  one  of  those  lit- 
tle comers  of  Italy,  where  the  ancient  life  and  the  primitive  simplicity  of  manners  are 
preserved  by  a  happy  anachronism  ;  and  as  for  the  picture  of  Dante  and  Virgil,  that,  by 
my  faith  !  will  transport  you  as  far  and  as  high  as  you  can  desire.  A  sweet  veil  covers 
this  poetic  composition,  as  fruitful  in  beautiful  reveries  as  the  Barque  of  M.  Gleyre. 
The  damned  writhe  a  little  confusedly  their  pitiful  shadows.  The  two  divine  poets, 
the  luminous  and  the  terrible,  the  one  who  sings  and  the  one  who  roars,  stand  on  the 
shore  in  truly  beautiful  draperies,  in  which  each  fold  announces  a  designer."  —  Edmond 
About,  Nos  Artistes  au  Salon  de  1857. 

Dabour,  John.  (Am.)  Born  in  Smyrna,  Asia,  1837.  He  was  a 
pupil  of  the  Academy  of  Fine  Arts  of  Paris,  and  studied  for  some  time 
under  Jeanron,  formerly  superintendent  of  the  Art  Museum  of  France. 
He  has  spent  fifteen  years  of  his  professional  life  in  the  United  States, 
painting  portraits  which  are  in  various  cities  of  the  country,  chiefly 
in  Baltimore,  his  present  home.  Among  the  more  prominent  of  his 
sitters  have  been  Archbishop  Spaulding  of  Baltimore,  Archbishop 
Purcell  of  Cincinnati,  Senator  Cameron  of  Pennsylvania  and  his  son, 
Senator  Davis  of  Virginia,  Governor  Groome  of  Maryland,  and  many 
more. 

Daege,  EduarcL  (Ger.)  Born  at  Berlin,  1805.  Member  of  the 
Senate  of  the  Academy  of  Berlin,  also  Professor  and  member  of  the 
same  Academy,  where  he  had  formerly  taken  various  prizes.  Pupil 
of  Niedlich  and  Wach.  In  1832  he  went  to  Italy.  At  the  National 
Gallery,  Berlin,  are  "The  Old  Sacristan "  and  "  The  Invention  of 
Painting,"  by  this  artist.    [Died,  1883.] 

Dael,  Jan  Franz  van.  (Dutch.)  Born  at  Antwerp  (1764- 
1840).  This  artist  received  a  gold  medal  from  Louis  XVIII.  and  the 
Cross  of  the  Legion  of  Honor  from  Napoleon.  He  lived  much  in 
France,  and  painted  fruits  and  flowers  in  the  manner  of  Van  Huysum 
and  Van  Spaendonck.  Josephine  and  Marie  Louise  both  honored 
him  with  their  favor  and  patronage. 

In  1861,  at  a  sale  in  Paris,  a  "  Vase  of  Flowers "  by  Van  Dael 
brought  5,300  francs. 

Dagnan,  Isidore.  (Ft.)  Born  at  Marseilles  (1794-1873).  Chev- 
alier of  the  Legion  of  Honor.  Painter  of  landscapes,  whose  subjects 
are  principally  taken  from  Italy,  Switzerland,  and  the  South  of  France. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  179 


Among  them  are,  "  A  Sea  View  at  Marseilles  "  (1833),  purchased  for 
the  Luxembourg  ;  "  View  of  Lake  Geneva,"  at  the  Grand  Trianon  ; 
"  View  at  Lausanne  "  ;  and  a  "  View  in  Dauphiny,"  at  the  Palace  of 
Fontainebleau.  In  1870  he  exhibited  at  the  Salon,  "  Cross-Road  from 
Batigny  to  Pierrefonds,  Forest  of  Compiegne,"  and  "  Banks  of  the 
Sorgue  at  Vaucluse  "  ;  in  1869,  "  The  Old  Trees  of  the  Gorge-aux- 
Loups,  Forest  of  Fontainebleau,"  and  "  The  New  Road  of  the  Vallee 
de  la  Sole,  Forest  of  Fontainebleau  "  ;  in  1868,  "  Queen  Blanche's  Old 
Oak,  Forest  of  Fontainebleau"  and  "A  View  on  the  Banks  of  the 
Aar,  Canton  of  Berne  "  ;  etc. 

Dagnan-Bouveret,  Pascal- Adolphe-Jean.  (Fr.)  Born  at  Paris. 
Pupil  of  Gerome.  Medal  of  third  class  in  1878,  when  he  exhibited 
"  Manon  Lescaut"  ;  in  1877,  "  Orpheus  and  the  Bacchantes"  and  an 
"  Infant  Bacchus." 

Dalou,  Jules.  (Fr.)  Born  in  Paris,  1838.  Medal,  1870.  When 
quite  young  he  attended  l'Ecole  Mutuelle,  and  at  eleven  years  of  age 
entered  the  school  for  drawing  in  the  Hue  de  l'Ecole  de  Medecine, 
where  Carpeaux  was  then  a  master.  Under  his  instruction  Dalou  first 
modeled  from  the  antique.  Carpeaux  soon  took  the  boy  into  his 
own  studio,  and  persuaded  his  parents  to  allow  him  to  make  sculpture 
his  profession.  At  fourteen  Dalou  entered  l'Ecole  des  Beaux-Arts, 
where  he  was  very  unhappy  on  account  of  the  mode  of  study  there 
enforced.  When  about  eighteen  he  lost  the  sympathy  and  direction 
of  Carpeaux,  who  went  to  Rome.  He  then  entered  the  atelier  of 
Duret,  where  he  was  so  miserable  that  he  several  times  left  it, 
but  was  persuaded  by  friends  to  return.  At  the  same  time,  Dalou 
worked  for  bronze-makers,  goldsmiths,  etc.,  in  order  to  earn  some- 
thing, but,  however  good  his  work  may  have  been,  he  gained  no  repu- 
tation from  it,  as  his  name  never  was  attached  to  it.  At  length  he 
found  some  employment  in  the  decoration  of  houses,  especially  of  that 
built  by  the  Countess  of  Paiva,  on  the  Champs  lilysees.  In  1 867  he 
made  his  debut  at  the  Salon,  with  a  plaster  statue  called  "The 
Bather."  In  1870  he  sent  a  plaster  statue  called  "The  Embroidery 
Girl,"  for  which  he  received  a  medal.  He  was  about  to  put  this  into 
marble  when  war  broke  out.  Dalou  remained  at  Paris  in  the  ranks  of 
the  National  Guard.  He  was  reputed  to  have  been  connected  with 
the  Commune,  and  was  exiled,  since  which  time  he  has  lived  in  Eng- 
land, where  he  has  been  well  received  and  encouraged  as  an  artist. 
In  1872  he  sent  to  the  Royal  Academy  a  terra-cotta  statuette, 
called  "  Palm  Sunday,"  belonging  to  Mr.  George  Howard  ;  in  1873, 
"A  French  Peasant- Woman  "  (statue  in  terra-cotta),  belonging  to  Sir 
Coutts  Lindsay.  A  marble  group,  "  La  Berceuse,"  is  in  the  collection 
of  the  Marquis  of  Westminster.  Dalou  has  also  made  statuettes  of 
the  Marchioness  of  Ormond,  the  Countess  Grosvenor,  Lady  Clementine 
Mitford,  the  Hon.  Mrs.  Howard,  and  Miss  Margaret  de  Rothschild. 
In  1877  he  sent  to  the  Royal  Academy  a  large  terra-cotta  group  of  "  A 


180     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Boulonnaise  nursing  her  Infant "  and  a  portrait  bust  of  Mr.  George 
Howard.  At  Philadelphia  he  exhibited  "The  Needlewoman,"  in 
bronze,  and  received  a  medal. 

"  M.  Dalou's  style  of  art  is  as  natural  and  life-like  as  that  of  Carpeaux,  without  that 
excessive  vivacity  of  his  master,  which  sometimes  became  a  defect  of  taste  and  a 
scarcely  pardonable  license.  It  is  a  kind  of  sculpture  which,  without  by  any  means  dis- 
daining art,  is  in  open  rebellion  against  the  pedantry  of  the  schools,  and  refreshes  itself 
by  contact  with  the  actual  human  world,  portraying  life  as  it  really  exists  in  very  dif- 
ferent classes  of  society,  provided  only  that  the  model  is  a  suitable  one  for  sculpture. 
The  charm  of  M.  Dalou's  work  is  due  to  his  sympathy  with  humanity,  and  a  great 
natural  taste  and  refinement,  which  enables  him  to  represent  a  peasant-woman  of 
Boulogne  and  the  daughter  of  an  English  duke,  so  that  each  has  her  own  kind  of  dig- 
nity."— The  Portfolio,  May,  1877. 

Dame,  Ernest.  (Fr.)  Born  at  Saint-Florentin.  Medal  in  1875. 
Pupil  of  Duret  and  Lequesne,  Guillaume  and  Cavelier.  At  the  Salon 
of  1877  he  exhibited  a  plaster  group  called  "  Fugit  amor  !  "  the  subject 
taken  from  a  song  by  Victor  Hugo  ;  in  1875,  a  plaster  group,  "  Cepha- 
lus  and  Procris,"  and  a  portrait  bust ;  etc. 

"It  is  an  exquisite  thing,  this  group  of  M.  Dame  They  are  well  grouped.   She  is 

charming,  made  to  ravish  one,  graceful  as  a  fairy  of  the  Opera.  He  is  like  a  Vestris.  ..." 
—  Mario  Proth,  Voyage  au  Pays  des  Peintres,  1877. 

Dameron,  Emile  Charles.  (Fr.)  Born  in  Paris.  Medal  at  Phil- 
adelphia, and  one  of  the  third  class  at  the  Salon  of  1878.  Pupil  of 
Pelouse.  At  Philadelphia  he  exhibited  "  The  Pyramids  "  and  "  The 
Oaks  of  Grand-Moulin."  At  the  Paris  Salon  of  1877  he  exhibited 
"  Souvenir  of  Cernay-la-Ville,  —  Effect  of  Winter"  ;  in  1878,  "  On  the 
Bank  of  the  Aven,  Finistere." 

Dana,  William  P.  W.,  N.  A.  (Am.)  Born  in  Boston,  1833.  His 
fondness  for  the  sea  and  ships  was  manifested  at  an  early  age,  and 
he  made  several  voyages  as  a  sailor  before  he  decided  to  study  art. 
In  1852  he  went  to  Europe,  and  became  a  pupil  of  Picot  and  of 
Le  Poittevin,  and  a  student  in  l'l^cole  des  Beaux- Arts  in  Paris, 
spending  his  summers  in  sketching-tours  in  Normandy  and  Brittany. 
He  returned  to  America  in  1862,  painting  in  New  York  and  Newport, 
R.  I.  In  1863  he  "was  made  a  full  member  of  the  Academy  of  Design. 
He  has  been  happy  in  his  pictures  of  children,  horses,  and  dogs,  and 
has  painted  some  successful  portraits  in  later  years,  although  his  ear- 
lier works,  following  the  natural  taste  of  his  youth  for  the  sea,  were 
marine  views  ;  his  first-exhibited  picture  being  "A  Wreck  on  Fire  at 
Sea,"  painted  in  Paris.  Among  his  works  of  this  class  are  his  "  Chase 
of  the  Frigate  Constitution  "  (belonging  to  Abbott  Lawrence),  "  Cliffs 
at  Sunset,"  "  Waiting  for  the  Fishing-Boats,"  "  Low  Tide  at  Yport," 
"  Breakers  Ahead  !  "  "  Foggy  Morning  on  the  Coast  of  Normandy," 
etc.  He  has  also  painted  "  French  Peasant-Girl "  (presented  to  tha 
Sanitary  Fair  in  New  York),  "  Maternal  Care,"  "  Heart's-Ease ."  "  Em- 
by's  Admirals "  (belonging  to  the  National  Academy),  "  Land  of 
Nod,"  "  English  Greyhound,"  and  "  Moonrise  after  a  Gale  "  (N.  A., 
1869).    His  "  Gathering  Seaweed  "  was  at  the  Paris  Salon  of  1878. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  181 


"  Dana  is  full  of  talent.  He  colors  attractively,  although  not  always  harmoniously,  as 
is  shown  by  his  most  ambitious  picture,  '  Heart's-Ease,'  which  neither  in  taste  nor  treat- 
ment is  equal  to  his  less  pretending  works.  The  motives  of  his  composition  are  among 
the  most  charming  of  genre  painting."  —  Jarves,  Art  Idea. 

Danby,  Francis,  A.  R.  A.  (Brit.)  Born  in  Ireland  (1793  -  1861). 
Received  his  art  education  in  Dublin.  Went  to  Bristol,  Eng.,  at 
the  age  of  twenty,  teaching  drawing  for  some  time,  and  painting  his 
"  Sunset  at  Sea  after  a  Storm,"  which  first  brought  him  into  notice  as 
an  artist.  It  was  at  the  Royal  Academy  in  1824,  and  was  purchased 
by  Sir  Thomas  Lawrence.  In  1825  he  removed  to  London,  and  was 
elected  Associate  of  the  Royal  Academy  on  the  strength  of  his  picture 
of  the  "  Delivery  of  Israel  out  of  Egypt,"  exhibited  that  year.  In 
1830  he  went  to  the  Continent,  remaining  twelve  years  in  Switzer- 
land. His  "  Fisherman's  Home,"  painted  in  1846  (in  the  Vernon 
Collection),  is  now  in  the  National  Gallery,  London.  Among  his 
better  known  works  are  "  Venus  rising  from  the  Sea "  and  "  The 
Highland  Chieftain's  Burial." 

"  Danby  is  most  distinguished  for  his  calm  evening  scenes  at  sea,  generally  sunsets, 
under  various  aspects,  frequently  combined  with  some  poetical  subject,  incident,  or 
sentiment,  and  nearly  always  conspicuous  for  their  brilliant  coloring."  —  Wornum's 
Epochs  of  Painting. 

Danby,  James.  (Brit.)  Son  of  Francis  Danby,  A.  R.  A.  He 
died  in  1875.  He  devoted  himself  to  marine  painting  with  consid- 
erable success,  and  exhibited  for  many  years  at  the  Royal  Academy 
and  elsewhere  in  London  and  the  Provinces.  Among  his  works  are, 
"A  View  on  the  Thames"  (1860);  "Wreck  on  Exmouth  Bar" 
(1861)  ;  "Mount  Orgueil,  Jersey  "  (1866)  ;  "North  Shields,  —  Sun- 
rise "  (1869)  ;  and  "  The  Conflict"  (1874). 

Danby,  Thomas.  (Brit.)  Son  of  Francis  Danby,  A.  R.  A.,  and 
younger  brother  of  James  Danby.  He  is  a  landscape-painter,  resi- 
dent in  London.  He  painted  for  many  years  in  oil,  exhibiting  at  the 
Royal  Academy  and  the  British  Institution.  Later,  becoming  a  mem- 
ber of  the  Society  of  Painters  in  Water-Colors,  he  has  more  particularly 
devoted  himself  to  works  in  that  medium,  exhibiting  in  different 
seasons,  "  On  the  River  Wye,"  "  A  Mountain  Stream  in  North 
Wales,"  "Merionethshire,"  "The  Lake  of  Bala,"  "The  Castle  by 
the  Sea,"  "  Snowden,"  "  The  Wilds  of  Wales,"  "  A  Spring  Morn- 
ing," etc. 

Danforth,  M.  I.  (Am.)  Born  at  Hartford,  Ct.  In  1818  he  be- 
came a  pupil  of  the  Graphic  Company,  an  association  for  the 
purpose  of  engraving  bank-note  plates.  In  1821  he  went  to  New 
Haven,  and  soon  executed  his  plate  after  Raphael  Morghen's  engrav- 
ing of  the  "  Parce  somnum  rumpere,"  which  was  creditably  done. 
In  1826  he  studied  at  the  Academy  of  Design  in  New  York,  and 
went  in  the  following  year  to  London,  where  he  studied  some  time 
longer.  After  his  return  he  became  one  of  the  bank-note  engravers 
of  New  York.    His  "  Sentry-Box,"  after  C.  R.  Leslie,  is  a  fine  line 


182    ARTISTS  OF  THE  NINETEENTH  CENTURY. 


engraving.  Among  his  other  plates  are  Washington  Irving,  after  Les- 
lie ;  Sir  Walter  Scott,  after  the  same  ;  and  Don  Quixote. 

Daniel,  Henri  Joseph  du  Commun  du  Locle,  called.  (Fr.) 

Born  at  Nantes  (1804  -  1884).  Officer  of  the  Legion  of  Honor.  Pupil 
of  Bosio  and  Cortot.  Among  the  works  of  this  sculptor  are,  "  Count 
Simeon"  (1842),  purchased  for  the  Chamber  of  Peers  ;  "  Raimbaud 
III.,  Count  of  Orange,"  a  colossal  statue,  in  the  square  of  the  city  of 
Orange  ;  several  busts  commanded  for  the  Gallery  at  Versailles  ; 
"  Music,"  at  the  Louvre  ;  and  an  ornamental  fountain  for  the  city  of 
Nantes. 

Dannat,  William  T.  (Am).  Born  in  New  York,  1853.  Going 
abroad  for  the  purpose  of  study  at  an  early  age,  he  was  educated  in 
art  at  the  Royal  Academy  of  Munich,  spending  the  better  part  of  his 
professional  life  in  Munich  and  Florence.  He  passed  the  winter  of 
1877  and  '78  in  New  York,  contributing  to  the  first  exhibition  of  the 
Society  of  American  Artists,  two  heads  of  Bavarian  peasants.  He 
has  traveled  in  Spain,  studying  the  masters  of  that  country.  Among 
the  portraits  by  Dannat  is  one  of  Vicar-General  Thomas  Preston,  in 
the  possession  of  Mrs.  Walter  S.  Starr.    Medal  at  Salon,  1883. 

Dantan,  Antoine  Laurent.  (Fr.)  Born  at  St.  Cloud  (1798-1878). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Bosio  and  l'ficole  des 
Beaux- Arts,  where  he  took  the  grand  prize  in  1828,  the  subject  being 
the  "  Death  of  Hercules."  In  1869  he  exhibited  at  the  Salon,  "The 
Happy  Age,"  a  statue  in  marble,  and  a  portrait  bust  in  plaster  ;  in 
1868,  "The  Drunkenness  of  Silenus,"  bas-relief  in  marble.  Among 
his  portrait  busts  are  those  of  Rachel,  Madame  Delaroche,  and  M. 
Boguet,  and  of  a  number  of  historical  persons  for  the  Gallery  at  Ver- 
sailles. Among  his  figures  are,  "The  Neapolitan  Girl  playing  the 
Tambourine,"  a  "  Young  Bather  playing  with  his  Dog,"  and  an  "  Ital- 
ian Vintager." 

Dantan,  Jean-Pierre,  called  the  "young  Dantan."  (Fr.)  Brother  of 
the  preceding.  Born  at  Paris  (1800  -  1869).  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Bosio.  After  his  studies  he  visited  Italy  and 
made  a  bust  of  Pope  Pius  VIII.  On  his  return  to  France  he  occupied 
himself  with  a  satirical  sort  of  sculpture  which  gave  him  a  place  quite 
alone  among  French  artists.  He  was  very  quick  to  see  and  clever  at 
rendering  the  grotesque  side  of  persons  and  things.  He  has  made 
travesty  portraits  of  many  prominent  men,  among  whom  are  Vernet, 
Paganini,  Rubini,  Frederic-Lemaitre,  etc.  Malibran  sat  to  him.  He 
visited  England,  and  there  made  portraits  of  Wellington,  Brougham, 
Samuel  Rothschild,  Count  d'Orsay,  and  Talleyrand,  which  are  among 
his  best.  His  more  serious  works  are  the  statue  of  Boieldieu  at 
Rouen,  the  busts  of  Grisi,  Verdi,  Thalberg,  Cherubini,  Marshal  Can- 
robert,  C.  Pleyel,  Rossini,  Velpeau,  Philibert  Delorme  (for  the  court  of 
the  Louvre),  Nelaton,  Auber,  Meyerbeer,  and  many  others.  He  died 
suddenly  at  Baden,  and  left  a  large  fortune. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  183 


Dargent,  E.  Yan.  (Fr.)  Born  at  Saint  Servais.  Chevalier  of 
the  Legion  of  Honor,  1877.  Landscape-painter.  At  the  Salon  of 
1876  he  exhibited  "  The  Banks  of  the  Scorf-an-Sac'h  (Finistere)  " 
and  u  A  Cliff  at  Morgat  (Finistere)  "  ;  in  1875,  two  landscapes  and 
"  Ecstatic  Conversation  of  Saint  Corentin  and  Saint  Primel "  ;  etc. 

Darley,  Felix  O.  G,  1ST.  A.  (Am.)  Born  in  Philadelphia,  1822. 
Early  displayed  a  taste  for  art,  but  had  no  regular  art  education. 
After  leaving  school  he  followed  mercantile  pursuits  in  his  native 
city,  executing  wood-cuts  for  a  Philadelphia  pictorial  journal  during 
his  leisure  hours.  He  was  engaged  by  the  American  Art  Union  about 
1850  to  engrave  (his  now  so  well  known)  outline  illustrations  of  Irving's 
Works,  which  brought  him  at  once  into  notice  as  a  clever  and  original 
draughtsman.  He  has  furnished  illustrations  for  some  of  the  finest 
and  most  valuable  editions  of  the  standard  English  and  American 
authors,  Cooper,  Dickens,  Hawthorne,  etc.,  while  among  his  larger  and 
more  pretentious  works  are,  "  Washington's  Entry  into  New  York," 
"The  First  Blow  for  Liberty,"  "Foraging  in  Virginia,"  "Giving 
Comfort  to  the  Enemy,"  "  Emigrants  attacked  by  Indians  "  (painted 
for  and  belonging  to  Prince  Napoleon),  "  Scene  in  the  Streets  of  Rome  " 
(in  a  private  collection  in  Boston).  Many  of  the  original  drawings 
for  the  Dickens  illustrations  belong  to  Mr.  Houghton,  of  the  publishing- 
house  for  which  they  were  drawn.  Mr.  Darley  was  elected  full  mem- 
ber of  the  Academy  of  Design  in  1852  ;  he  is  a  member  of  the  Artists' 
Fund  Society,  and  was  one  of  the  early  members  of  the  American  So- 
ciety of  Painters  in  Water-Colors.  His  work,  however,  is  almost  exclu- 
sively in  black  and  white,  and  his  reputation  was  fully  established  in 
his  own  country  before  he  visited  others.  During  his  European  travels 
his  pencil  has  never  been  idle,  and  he  has  brought  home  with  him 
many  valuable  sketches  of  character,  as  well  as  of  picturesque  scenery 
and  architecture.  He  is  an  annual  exhibitor  at  the  Academy.  Among  * 
his  later  works  are,  "  Puritans  surprised  by  Indians,"  "  The  School- 
Boy,"  "  The  March  to  the  Sea,"  "  The  Sheepfold  "  (belonging  to  the 
National  Academy),  "  Feeding  the  Pets,"  "  Mount  Desert,"  and  "  A 
Cold  Snack."  His  "  Cavalry  Charge  at  Fredericksburg,  Va.M  (belong- 
ing to  W.  T.  Blodgett)  was  at  the  Paris  Exposition  of  1867.  His 
"  Street  Scene,  Rome,"  in  water-color,  was  at  the  Philadelphia  Exhi- 
bition of  1876. 

"  Darley  is  a  prolific  artist  in  designs  of  the  homely,  pathetic,  and  humorous,  — 
strongly  individualistic,  in  the  American  sense,  but  with  a  heavy,  monotonous  stroke  of 
pencil  and  commonness  of  human  type  which  give  to  his  compositions  an  almost  uni- 
form sameness  of  style  and  character.  Nevertheless,  he  has  great  facility  and  vigor,  a 
knowledge  of  drawing,  intenseness  of  execution,  skill  and  capacity  of  realistic  illustra- 
tion, which  stamp  him  as  a  remarkable  man. "  —  Jarves,  Art  Idea. 

"  The  peculiar  skill  and  readiness  of  Darley's  pencil  has  unavoidably  enlisted  it  in 
numerous  casual  enterprises,  from  a  vignette  on  bank-notes  to  a  political  caricature  for 

a  comic  paper.    There  was  no  draughtsman  among  us  so  prompt  and  inventive  

Darley  has  made  a  study  of  American  subjects,  and  finds  therein  a  remarkable  range, 


184     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


from  the  beautiful  to  the  grotesque,  as  is  manifest  when  his  drawings  are  compared. 
It  is  rare  for  the  same  hand  to  deal  so  aptly  with  the  graceful  and  the  pensive,  so  vig- 
orously with  the  characteristic,  and  so  broadly  with  the  humorous,  and  exhibit  an  equal 
facility  and  felicity  in  true  literal  transcript  and  in  fanciful  conception."  —  Tucker- 
man's  Book  of  the  Artists. 

"  Darley's  '  Illustrations  of  Margaret '  have  been  pronounced,  by  competent  foreign 
critics,  as  the  best  outline,  for  expression,  grace,  and  significance,  since  those  of 
Retzch."-—  Dr.  Francis,  in  Old  New  York. 

Darrah,  Mrs.  S.  T.  (Am.)  A  native  of  Pennsylvania.  Her  pro- 
fessional life  has  been  spent  in  Boston.  She  paints  landscapes  and 
marine  views,  and  her  works  are  highly  regarded.  "  Rocks  at  Man- 
chester, Mass.,"  a  very  good  specimen,  belongs  to  Mrs.  E.  D.  Kimball 
of  Salem.  Her  "  Gathering  Kelp  "  was  at  the  Boston  Mechanics'  Fair 
in  1878.    [Died,  1881.] 

[No  response  to  circular.] 

Dauban,  Jules- Joseph.  (Fr.)  Born  at  Paris,  1822.  Chevalier 
of  the  Legion  of  Honor.  Director  of  the  School  of  Fine  Arts  at 
Angers.  -  Pupil  of  Auguste  Debay.  Made  his  debut  at  the  Salon  of 
1861.  His  "Reception  of  a  Stranger  by  the  Trappists"  (1864)  is  at 
the  Luxembourg.  "  The  Trappists  giving  the  Kiss  of  Peace  before 
Communion "  is  at  the  Museum  of  Angers.  "  The  Resurrection  of 
Lazarus  "  is  at  the  church  of  Saint-Bernard  at  Paris.  "  The  Educa- 
tion of  the  Virgin  "  and  "  Two  Stations  of  the  Cross  "  are  at  the  Hos- 
pice Sainte-Marie,  Angers.  Dauban  has  executed  many  decorative 
works  in  churches  and  other  public  places,  as  well  as  in  private 
houses. 

Daubigny,  Charles  Francois.  (Fr.)  Born  at  Paris  (1817  - 1878). 
Officer  of  the  Legion  of  Honor.  Pupil  of  Delaroche.  This  painter 
spent  three  years  in  Italy,  and  has  sent  his  pictures  to  nearly  every 
Salon  since  1838.  Among  his  numerous  works  may  be  mentioned, 
"  The  Banks  of  the  River  Oulins,"  "  The  Seine  at  Charenton,"  "The 
Island  of  Bezons,"  and  "  The  Seine  at  Bezons,"  all  purchased  by  the  Min- 
istry of  the  Interior.  "  The  Harvest "  (1852)  was  placed  in  the  Tuile- 
ries  ;  "  A  View  on  the  Banks  of  the  Seine"  (1852)  is  at  the  Museum  of 
Nantes  ;  "  The  Pool  of  Gylien "  (1853)  was  purchased  by  the  Em- 
peror for  the  Palace  of  St.  Cloud.  At  the  Louvre,  in  the  apartment  of 
the  Ministers  of  State,  are  two  panels,  stags  and  herons  ;  on  the  stair- 
case of  the  same  apartment  are  "  The  Pavilion  of  Flora  "  and  "  The 
Palace  and  Gardens  of  the  Tuileries."  In  the  Luxembourg  are  "  A 
View  in  the  Valley  of  Optevoz"  (1855)  and  "Springtime"  (1857). 
At  the  Johnston  sale,  "A  Landscape, —  Evening  "  (18  by  32)  sold  for 
$  1,450.  Two  works  by  this  artist  are  in  the  collection  of  Mrs.  H.  E. 
Maynard  of  Boston.  In  1877  he  exhibited  "The  Rising  of  the 
Moon"  and  a  "View  at  Dieppe";  in  1876,  "An  Orchard";  in 
1874,  "The  Fields  in  June"  and  "The  House  of  Mother  Bazot  at 
Valmondois."  He  has  also  executed  more  than  one  hundred  etchings, 
some  of  which  are  excellent.    In  1863,  "  La  Calcographie "  of  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  185 


Louvre  purchased  a  plate  of  his,  "A  Wooded  Landscape,"  after 
Ruysdael,  for  £  120. 

"  Daubigny  pere,  for  a  certain  massiveness  of  handling  and  justness  in  rendering  the 
values,  stands  alone."  —  S.  G.  W.  Benjamin,  Contemporary  Art  in  Frame. 

"  It  is  truly  a  pity  that  M.  Daubigny,  this  landscape-painter,  with  a  sentiment  so  true, 
just,  and  natural,  contents  himself  with  a  first  impression,  and  neglects,  at  this  point, 
the  details.  His  pictures  are  no  more  than  sketches,  and  sketches  little  advanced.  He 
does  not  want  time,  because  he  has  exhibited  not  less  than  five  canvases  of  considerable 
importance  ;  it  is  then  to  a  system  that  one  should  attribute  this  careless  manner,  which 
we  believe  dangerous  for  the  future  of  the  painter  if  he  does  not  quickly  abandon  it. 
....  We  exact  not  the  fibers  of  a  leaf  on  the  third  plane,  but  still  it  is  necessary  that 
trees  should  fasten  themselves  in  the  soil  by  roots,  that  their  branches  should  insert 
themselves  in  the  trunk,  and  that  they  trace  on  the  sky  or  the  horizon  a  distinct  sil- 
houette, above  all,  when  they  occupy  the  first  plane.  Trees  are  neither  feathers  nor 
smoke.  The  ground  covered  with  grass  has  a  solid  surface,  and  does  not  resemble  full- 
er's earth  kneaded  with  minced  wool.  Each  object  delineates  itself  by  an  apparent  or 
real  contour,  but  the  landscapes  of  M.  Daubigny  offer  little  except  spots  of  color  placed 
in  juxtaposition.  It  needs,  however,  but  a  few  days'  labor  to  make  excellent  pictures 
of  these  insufficient  preparations. "  —  Th£ophile  Gautier,  Abecedaire  du  Salon  de  1861. 

"  The  art  of  this  illustrious  master  consists  in  choosing  well  a  bit  of  country  and 
painting  it  as  it  is  ;  enclosing  in  its  frame  all  the  simple  and  naive  poetry  which 
it  contains.  No  effects  of  studied  light,  no  artificial  and  complicated  composition, 
nothing  which  allures  the  eyes,  surprises  the  mind,  and  crushes  the  littleness  of 
man.  No,  it  is  the  real  hospitable  and  familiar  country,  without  display  or  disguise,  in 
which  one  finds  himself  so  well  off,  and  in  which  one  is  wrong  not  to  live  longer  when 
he  is  there,  to  which  Daubigny  transports  me  without  jolting  each  time  that  I  stop  be- 
fore one  of  his  pictures.  How  willingly  would  we  sojourn  in  that  one,  beside  that 
fresh  water,  where  the  cows  take  their  evening  bath  !  Night  falls,  the  thrushes  send 
forth  their  last  cry,  the  nightingale  begins  to  sing,  ....  but  pardon,  I  diverge."  — 
Edmond  About,  Salon  de  1864. 

Daubigny,  Karl  Pierre,  son  of  the  preceding,  has  received  two 
medals  at  Paris  and  one  at  Philadelphia,  where  he  exhibited  "  The 
Valley  of  Pourville,  Normandy." 

Dauzats,  Adrien.  (Fr.)  Born  at  Bordeaux  (1808- 1868).  Chev- 
alier of  the  Legion  of  Honor.  Member  of  the  jury  for  the  admission 
of  works  at  the  London  Exhibition,  1861.  Studied  with  Gue,  and 
devoted  himself  especially  to  water-colors  and  lithographs.  Baron 
Taylor  employed  him  in  publishing  his  "  Voyages  pittoresques  et 
romantiques  dans  Pancienne  France."  He  afterward  traveled  in 
France,  Spain,  Algiers,  Egypt,  and  the  northern  countries  of  Europe. 
His  pictures  are  genre,  and  views  of  interiors,  such  as  "  Interior  of  a 
Mosque  at  Cairo,"  "The  Cathedral  of  Toledo,"  "The  Spanish  Gyp- 
sies," "  A  Fountain  at  Cairo,"  etc.  His  lithographs  illustrative  of 
his  travels  are  very  much  esteemed. 

"  To  learned  precision  of  drawing,  to  severe  and  free  arrangement  of  composition,  to 
irreproachable  taste  in  decoration,  he  has  added  of  his  own  will,  and  without  awaiting 
the  suggestion  from  critics,  all  that  we  admire  in  the  finest  colorists.  He  treats  land- 
scapes as  a  master,  his  talent  revels  in  full  air,  around  the  fountain  of  Cairo,  as  well 
as  in  the  interiors  of  cathedrals.  The  little  figures  with  which  he  peoples  his  pictures 
have  a  correctness  of  movement  and  a  local  physiognomy  which  recall  the  best  studies 
of  Decamps.  I  shall  never  forget  this  child,  clothed  in  green,  who  bears  a  basin  ;  it  is 
the  Orient  incarnated  in  a  gamin."  —  Edmond  About,  Salon  of  1864. 


186     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


David  d' Angers,  Pierre-Jean.  (Fr.)  Born  at  Angers  (1789- 
1856).  This  celebrated  sculptor  was  of  a  poor  family,  and  after 
many  difficulties  reached  Paris.  At  length  he  took  the  grand  prix  de 
Rome  and  went  to  Italy.  The  story  of  his  life  is  interesting,  but  too 
long  to  be  given  here.  As  a  sculptor  he  became  famous,  and  his 
works  are  in  many  places.  He  executed  forty-six  grand  statues, 
twenty-five  smaller  ones,  more  than  fifty  bas-reliefs,  and  over  five  hun- 
dred medallions,  some  of  which  are  very  large.  The  Museum  of 
Angers  possesses  a  collection  of  his  models  and  many  of  his  works. 
His  bust  of  Lafayette  is  at  Washington. 

Davioud,  Gabriel- Jean- Antoine.  (Fr.)  Born  at  Paris  (1823). 
Chevalier  of  the  Legion  of  Honor.  This  architect  has  been  em- 
ployed in  many  works  in  Paris,  which  afford  pleasure  to  all  who 
go  there.  Among  these  are  the  kiosks,  pavilions,  and  many  of  the 
attractive  features  of  the  Bois-de-Boulogne.  With  M.  Bailly  he  con- 
structed the  Pre-Catelan.  Davioud  also  restored  the  mill  of  Long- 
champ.  He  decorated  the  most  important  squares  of  Paris,  and  con- 
structed the  Fountain  of  Saint  Michel.  He  has  also  been  employed 
as  the  architect  of  many  private  buildings,  remarkable  for  the  ele- 
gance and  distinction  of  their  ornamentation.    [Died,  1881.] 

Davis,  Henry  W.  B.,  R.  A.  (Brit)  Born,  1833.  He  was  edu- 
cated at  the  schools  of  the  Royal  Academy,  gaining  two  medals  in 
1854.  In  1861  he  sent  to  the  Royal  Academy  his  "  Rough  Pastur- 
age." For  some  years  he  lived  at  Boulogne,  sending  to  the  Royal 
Academy  in  1862,  "  Midsummer,"  a  view  near  Boulogne  ;  in  1863, 
"On  the  French  Coast"  ;  in  1865,  "  The  Strayed  Herd"  ;  in  1866 
(when  his  studio  was  in  London),  "Spring  Plowing";  in  1868, 
"An  April  Afternoon";  in  1869,  "A  Squall  from  the  Sea,  Picardy"; 
in  1870,  "Dewy  Eve"  ;  in  1871,  "  Moonrise"  ;  in  1872,  "A  Panic"; 
in  1873  (when  he  was  elected  an  Associate  of  the  Royal  Academy), 
"  A  Summer  Afternoon  "  ;  in  1874,  "  The  End  of  the  Day  "  ;  in  1876, 
"  A  Spring  Morning"  ;  in  1877,  "  After  Sundown  "  ;  in  1878,  "  Mid- 
day Shelter";  several  of  which  have  been  engraved.  In  1872  he 
designed,  in  bronze,  "  A  Trotting  Bull,"  which  was  exhibited  at  the 
Royal  Academy,  and  received  a  medal  at  the  Exposition  in  Vienna  in 
1873.  His  "  Contentment "  and  "  Approach  of  Night  "  were  at  the 
Paris  Exposition  of  1878.    [R.  A,  1877.] 

"This  painter  [H.  W.  B.  Davis],  whose  work  by  its  subject  and  treatment  attests 
foreign  influence,  has  given  remarkable  proof  of  the  prudent  progress  which  is  com- 
moner in  French  than  in  English  *rt.  Having  painted  small-sized  scenes  for  several 
years  with  great  care  and  delicacy,  he  now  gives  the  fruit  of  his  study  in  a  well-con- 
sidered and  successful  picture,  '  The  Strayed  Herd,'  on  the  fullest  landscape  scale."  — 
Palgrave's  Essays  on  Art. 

Deane,  William  Wood.  (Brit.)  (1825-1873.)  Entered  the 
schools  of  the  Royal  Academy  in  1844,  remaining  some  years  and 
gaining  a  silver  medal  ;  during  the  same  period  he  was  a  pupil  of 
the  Royal  Institute  of  British  Architects,  which  branch  of  the  profes- 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  187 


sion  he  followed  for  some  time,  abandoning  it  entirely  for  water-color 
painting  and  becoming  an  Associate  Member  of  the  Water-Color  So- 
ciety. His  pictures  are  chiefly  architectural  in  subject  and  taken 
from  continental  edifices  ;  they  are  carefully  and  faithfully  executed. 

"  The  sketches  from  the  hand  of  W.  W.  Deane,  many  of  them  unfinished,  have  a 

charm  of  individual  sympathy  which  no  mere  tuition,  however  careful,  can  supply  

In  a  sketch  of  a  '  Bridge  of  Venice  '  we  see  how  delightfully  the  varying  hues  of  hazy 
water  are  allowed  to  direct  the  whole  scheme  of  color,  finding  their  way  by  some 
reflected  process  into  the  tones  of  the  marble  of  the  bridge  itself  and  of  the  houses  be- 
hind."—  Art  Journal,  January,  1874. 

Deas,  Charles.  (Am.)  Born,  1818.  Manifested  a  marked  taste 
for  art  as  a  youth,  studying  under  John  Sanderson  in  Philadelphia, 
and  in  the  schools  of  the  National  Academy,  New  York.  In  1840  he 
visited  the  then  far  West,  making  many  valuable  sketches  of  Indian  life 
and  character.  The  later  years  of  his  life  were  clouded  by  mental 
derangement,  and  he  died  to  art  and  the  world  many  years  before  his 
actual  death.  He  was  a  man  of  genius  and  of  great  promise.  Among 
the  more  marked  of  his  works,  many  of  which  are  familiar  in  Amer- 
ica by  engraving,  are,  "The  Turkey- Shoot,"  "Long  Jake,"  "The 
Wounded  Pawnee,"  "  Hunting  on  the  Prairie,"  and  "  The  Last  Shot." 

Debay,  Jean-Baptiste- Joseph.    (Fr.)   Born  at  Malines  (1779- 

1864)  .  Chevalier  of  the  Legion  of  Honor.  Pupil  of  the  Academie 
des  Beaux- Arts  and  of  Chaudet.  At  Nantes  he  executed  works  for 
the  Hotel  de  Ville  and  the  Library.  Among  his  works  are  an  eques- 
trian statue  of  Louis  XIV.,  for  the  city  of  Montpellier  ;  "  Pericles," 
in  the  garden  of  the  Tuileries  ;  "  Charles  Martel,"  at  the  Museum  of 
Versailles  ;  "  Colbert,"  at  the  palace  of  the  Luxembourg  ;  "  Saint 
Sebastian,"  at  the  church  of  Saint- Merri  ;  "  Saint  Matthew,"  at  the 
Cathedral  of  Arras  ;  and  some  busts  of  celebrated  men  for  the  galleries 
of  Versailles,  as  well  as  various  other  public  monuments. 

Debay,  Auguste  Hyacinthe.     (Fr.)    Born  at  Nantes  (1804- 

1865)  .  Chevalier  of  the  Legion  of  Honor.  Painter  and  sculptor. 
This  artist  sent  sculptures  to  the  Salon  from  very  early  years,  and  in 
1824  he  took  the  grand  prize  at  PEcole  des  Beaux- Arts.  While  in 
Italy  and  after  his  return  to  France  in  1830,  until  the  time  of  his 
death,  he  sent  many  works  to  the  Salon.  Among  his  pictures  are, 
"  The  Field  of  the  Cloth  of  Gold"  for  the  Museum  of  Versailles  ;  and 
"  The  Battle  of  Dreux  "  for  the  Museum  of  that  city.  Among  his 
sculptures  are  the  Mausoleums  of  the  Archbishop  Affre  and  the 
Countess  of  Damas,  and  the  statue  of  Perrault,  for  the  new  Louvre. 
In  1843  he  executed  the  twenty-four  old  men  for  the  cupola  of  the 
church  of  St.  Peter  at  Chaillot ;  in  1861,  the  fronton  of  the  Fountain 
of  Saint  Michel,  and  many  other  important  works. 

Decaisne,  Henry.  (Belgian.)  Born  at  Brussels  (1799-  1852). 
Pupil  of  David  Girodet  and  Gros.  He  drew  well,  and  was  a  good 
colorist.  Among  his  works  may  be  mentioned,  "  The  Death  of  Louis 
XIII.,"  "Belgium  distributing  Crowns  to  her  Illustrious  Sons "  (at 


188     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Brussels),  "Henrietta  of  England  received  by  Anne  of  Austria" 
(placed  in  the  Gallery  of  the  Trianon),  "  A  Guardian  Angel  watching 
the  Cradle  of  an  Infant "  (purchased  for  the  Luxembourg).  Decaisne 
also  executed  some  decorative  work.  "  Christ  with  the  Little  Chil- 
dren," in  the  church  of  St.  Denis-du- Saint- Sacrament  at  Paris,  was 
painted  by  him. 

Decamps,  Alexandre  Gabriel.  (Fr.)  Born  at  Paris  (1803-1860). 
Pupil  of  Pujol.  Officer  of  the  Legion  of  Honor.  Painter  of  landscapes, 
animals,  and  genre  subjects.  When  a  child  he  was  sent  by  his  father 
to  a  lonely  place  in  Picardy,  where  he  was  shut  off  from  all  compan- 
ionship but  that  of  peasants  ;  spoke  a  patois,  hunted  bird's-nests,  and 
roamed  the  woods  and  fields  for  three  years.  The  effects  of  this  ex- 
perience clung  to  him  through  life  ;  he  loved  rough  and  illiterate 
people,  to  the  detriment  of  culture  and  refinement.  He  disliked  study, 
and  unfortunately  for  him  some  of  his  early  works  found  a  market 
with  such  readiness  as  to  lead  him  to  feel  further  application  unne- 
cessary. He  regretted  this  later,  and  says  himself,  "  I  was  received  in 
the  atelier  of  M.  Abel  de  Pujol.  I  worked  willingly  at  the  beginning. 
Unfortunately  my  master,  who  was  kind  and  indulgent,  and  absorbed 
in  his  own  labors,  was  little  qualified  to  make  me  understand  the 
utility  and  importance  of  studies  which  to  me  seemed  little  less  than 
monotonous.  I  took  a  dislike  to  the  work  and  quitted  the  atelier.  I 
tried  at  home  some  little  pictures,  they  were  bought,  and  my  education 
as  a  painter  was  missed."  In  spite  of  all  this  he  was  in  some  regards 
a  great  artist,  though  saddened  by  his  ignorance  of  academic  art,  and 
his  incapacity  to  do  all  that  he  wished  to  do.  He  was  thrown  from 
his  horse  and  killed  while  hunting  in  the  forest  of  Fontainebleau.  M. 
Chesneau,  in  the  "  Chefs  d'Elcole,"  says  of  Decamps  :  — 

"  When  we  descend  deeply  into  this  individuality,  which  avoided  alike  tenderness, 
servility,  and  arrogance,  we  find,  veiled  by  the  usages  of  the  world,  a  soul  profoundly  sad. 
Decamps  paid  by  the  trouble  of  his  artistic  conscience  the  want  of  moral  energy  which 
made  him  leave  off  study  too  early.  Cruel  chastisement  for  an  hour  of  weakness  at  the 
decisive  time  !  he  lived  with  the  crushing  certainty  that  he  had  not  expressed  what  was 
in  him  ;  he  died  with  the  conviction  of  having  left  his  work  undone." 

Coming,  as  Decamps  did,  into  the  age  of  "  classicism,"  he  may  be 
said  to  have  originated  a  manner  of  painting  of  which  there  are  good 
examples  in  the  Louvre.  The  works  of  Decamps  are  so  numerous 
that  no  satisfactory  list  can  be  given  here.  Paul  Mantz  calls  the  Salon 
of  1839  "one  of  the  happiest  dates  of  his  life."  "  The  Punishment 
of  the  Hooks,"  "  Executioners  at  the  Door  of  a  Prison,"  and  "  Children 
playing  with  Turtles  "  were  exhibited  that  year.  His  representations 
of  Oriental  life  were  characterized  by  striking  lights  and  effective  con- 
tours. At  the  Johnston  sale,  New  York,  1876,  "The  Suicide"  (15 
by  21)  sold  for  $  2,900,  and  "  The  Turkish  Patrol,  Smyrna,"  one  of 
his  best-known  works  (29  by  36),  brought  $  8,350.  A  repetition  of 
the  last  was  sold  in  Paris  in  1861  for  25,000  francs.  At  the  Lehon 
sale,  Paris,  1861,  "Going  out  from  School,  —  Turkish "  (water-color) 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  189 


sold  for  34,000  francs ;  it  was  signed  and  dated  1841.  After  the  death 
of  Decamps  there  was  a  sale  of  the  unfinished  works  in  his  studio. 
The  most  complete  of  these,  "  The  Good  Samaritan  "  (93  by  74  centi- 
meters) sold  for  23,600  francs ;  "During  the  Harvest"  (115  by  165 
centimeters),  for  22,000  francs.  At  the  Sale  Albert,  in  1861,  "  The 
Ass  and  the  Wise  Dogs/'  sold  by  the  artist  for  about  4,000  francs,  was 
resold  for  27,000  francs  !  Among  his  best  pictures  are,  "  The  Siege  of 
Clermont"  (1842),  "The  Heron,"  and  "The  Desert"  (1849). 

"  The  distinctive  qualities  of  Decamps  may  be  very  briefly  enumerated.  He  had  deep 
pathos  and  poetry,  and  was  profoundly  moved  by  a  certain  kind  of  roughness  and  wild- 
ness  in  nature  and  in  men  ;  he  was  a  powerful  and  masterly  colorist,  and  his  painting 
is,  in  its  way,  as  excellent  as  it  is  original.  His  composition  is  often  abrupt  and  even 
awkward,  but  the  awkwardness  is  always  essential  to  the  expression,  and  has  an  important 
bearing  upon  his  meaning.  He  had  an  intense  feeling  for  landscape,  but  his  knowledge 
of  it  is  not  to  be  estimated  by  his  imaginary  compositions,  which  are  often  empty  and 
bad,  if  considered  with  reference  to  nature,  though  never  without  artistic  significance. 
He  never  drew  accurately,  but  his  drawing  has  higher  merits  than  accuracy,  —  it  is  pas- 
sionate and  full  of  life.  He  made  valuable  experiments  in  technical  matters,  which, 
although  producing  at  first  much  vain  imitation  in  others,  have  left  results  in  many 
respects  beneficial ;  and  he  awakened  a  new  interest  in  picturesque  men  and  things. 
His  enjoyment  of  country  life  was  without  affectation.  He  had  real  genius,  and  saw 
nature  for  himself,  —  painting,  however,  not  so  much  the  facts,  as  his  impression  of  the 
facts.  Even  his  imitative,  faculty,  which  often  showed  itself  in  passages  of  astonishing 
force,  always  depended  far  more  on  his  powerful  interpretation  than  on  copyism.  He 
was  as  great  as  Troy  on,  and  quite  incomparably  greater  than  most  of  his  other  contempo- 
raries." —  Hamerton,  Contemporary  French  Painters. 

De  Cock,  Xavier.  (Belgian.)  Born  at  Ghent.  Medal  at  Paris, 
1857.  At  the  Salon  of  1876  he  exhibited  "  A  Forest "  and  "  Cows"  ; 
in  1875,  "  A  Brook  *  and  the  same  subjects  as  above  ;  in  1874,  still 
other  "Cows,"  "A  Forest,"  and  "Harvesters";  in  1873,  "  Herd  of 
Cows"  and  "  Sheep,  Autumn"  ;  and  in  1872,  "Effect  of  Autumn" 
and  "Cows  and  Goats."  At  the  Salon  of  1878  he  exhibited  "A  Flock 
of  Sheep,  in  Autumn."  At  the  exposition  of  the  same  year  was  seen 
his  "  Cows  arriving  at  the  Pasture." 

"  The  qualities  of  brio  and  brilliancy  which  Xavier  de  Cock  seeks  first  of  all,  are  un- 
happily obtained  at  the  expense  of  harmony,  and  his  intense  greens  are  sometimes  out 
of  tune.  Without  doubt,  the  verdure  of  moist  pastures  lights  up  and  is  brilliant  under 
the  action  of  the  sun,  but  there  are  also  some  shaded  parts  ;  and  failing  to  give  a  suffi- 
cient importance  to  the  half-tints,  the  artist  produces  a  sharpness  by  his  sudden  tran- 
sition from  the  intense  black  of  the  shade  to  the  living  green  of  the  light.  In  his  '  For- 
ests '  De  Cock  seems  to  neglect  the  drawing  systematically ;  he  constructs  his  trees 
with  a  carelessness  which  astonishes  us,  since  he  has  often  painted  the  interior  of  a 
wood  in  a  manner  which  leaves  nothing  to  desire  in  this  direction.  He  has  evidently 
done  this  with  an  intuition,  and  thinks  in  dissimulating  the  forms  to  give  more  charm 
to  the  vibrating  appearance  of  the  foliage.  We  believe  that  he  has  chosen  a  wrong 
method,  or  that,  at  the  least,  he  exaggerates  his  principle."  —  Rene  Menard,  L'Art, 
1876. 

De  Cock,  Cesar.  (Belgian.)  Born  at  Ghent.  Medals  at  Paris, 
1867  and  '69.  Painter  of  landscapes.  At  the  Salon  of  1877  he  ex- 
hibited "  A  Little  Wood,  at  Ville  d'Avray "  and  "  The  Banks  of 


190     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Epte";  in  1872,  "Springtime  in  the  Wood"  and  "A  River 
through  a  Wood "  ;  in  1869,  "  The  End  of  a  Day  in  the  Wood  at 
Longueville,  Normandy  "  and  "  The  Morning  in  the  Wood,  Sevres." 
To  the  Salon  of  1878  he  sent  "  The  End  of  Autumn  in  the  Wood" 
and  "  A  Little  River  at  Pont-l'Eveque,"  besides  some  sketches.  Mr. 
T.  G.  Appleton  sent  to  the  Mechanics'  Fair,  Boston,  1878,  "  A  Land- 
scape "  by  this  artist. 

"  Caesar  de  Cock  is  a  truly  original  painter.  While  most  painteis  prefer  the  warm  and 
ripe  colors  of  autumn,  Caesar  de  Cock  has  a  sort  of  juvenile  passion  for  the  dpres  saveurs 
and  the  exquisite  freshness  of  the  springtime.  He  loves  the  depths  of  the  woods,  the 
verdant  thickets,  in  the  month  of  May,  the  copses  which  put  forth  in  the  month  of 
April.  He  renders  with  extreme  skill  the  downy  softness  of  the  young  shoots,  the  un- 
decided form  of  the  bushes  only  half  clothed  with  their  new  leaves,  the  multitude  of 
young  stalks  which  encumber  the  coppices,  the  shadowed  parts  through  which  one  can 
sometimes  get  glimpses  of  light,  —  all  this  without  confusion,  without  minuteness,  — 
with  the  precision  of  an  eye  accustomed  to  see  all  the  details  without  losing  the  effect 
of  the  whole,  and  with  all  the  ease  of  a  young  and  bold  brush  which  nothing  embar- 
rasses. De  Cock  is  not  an  imitator,  he  is  an  original  painter,  for  whom  one  may  predict 
a  brilliant  future."  —  Ernest  Duvergier  de  Hauranne,  Revue  des  Deux  Monties,  June, 
1872. 

De  Coninck,  Pierre.  (Fr.)  Born  at  Meteren.  Medals  1866,  '68, 
and  '73.  Pupil  of  Cogniet.  In  1877  he  sent  to  the  Salon,  "  Moccoli, — 
the  End  of  the  Carnival  at  Rome  "  and  "  A  Studious  Little  Girl "  ;  in 
1876,  "Portrait  of  a  Trappist"  and  "A  Little  Charmer"  ;  in  1875, 
"  Pastorella,"  "  Ave  Maria,"  and  "  The  Friend  of  the  Little  Birds." 
At  the  Salon  of  1878  he  exhibited  some  portraits  of  children  and 
"  Cornelia." 

Decorchemont,  Emile.  (Fr.)  Born  at  Saint-Pierre-d'Autils. 
Pupil  of  A.  Millet  and  A.  Dumont.  Medal  of  the  third  class  in 
1878,  when  he  exhibited  a  statue,  plaster,  "  Orestes  pursued  by  the 
Furies"  ;  in  1877,  "  A  Young  Martyr"  (plaster  statue). 

Dedreux,  Alfred.  (Fr.)  Born  at  Paris  (1812  -  1860).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Cogniet.  A  genre  painter. 
His  portraits  were  also  well  considered.  He  painted  a  few  historical 
subjects,  such  as  "  The  Martyrdom  of  Saint  Hippolytus,"  "  The  Bat- 
tle of  Bauge/'  etc.  Several  of  his  works  are  at  the  Leipsic  Museum. 
At  the  Lehon  sale,  Paris,  1861,  the  "Falcon-Hunt"  and  the  "De- 
parture for  the  Chase"  brought  3,500  francs  each,  and  the  "Fox- 
Hunt,"  7,000  francs. 

Defaux,  Alexandre.  (Fr.)  Born  at  Bercy.  Medals  in  1874  and 
75.  At  the  Salon  of  1877  he  exhibited  "From  Honfleur  to  Pennede- 
pie  "  and  "  Sabliere,  in  the  Forest  of  Fontainebleau  "  ;  in  1876,  "  The 
Plateau  of  Belle-Croix,  Forest  of  Fontainebleau  "  and  "  The  Banks  of 
the  Loing, — a  Snowy  Day"  ;  in  1878,  "A  Spring  Morning  at  Cer- 
nay  "  and  "  A  View  behind  the  Mill  Godard,  at  Cernay." 

Defregger,  Franz.  (Ger.)  Born  at  Stronach,  1835.  Member  of  the 
Munich  Academy.  Great  gold  medal  at  Munich,  and  great  and  small 
gold  medals  at  Berlin.    Genre  painter.    Early  in  life  he  carved  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  191 


wood,  then  studied  sculpture  under  Professor  Stoltz,  who  saw  that 
the  young  artist  ought  to  be  a  painter.  Accordingly  he  went  to 
Munich,  and  studied  two  years,  then  to  Paris  for  two  more  years. 
In  1866  he  entered  Piloty's  studio.  His  subjects  are  principally  from 
every-day  life  in  the  Tyrol.  He  has  great  technical  skill,  humor,  and 
the  power  of  giving  reality  to  whatever  he  represents.  He  has  painted 
a  series  of  pictures  illustrative  of  the  Tyrolese  struggle  for  freedom, 
one  of  which,  called  "  Tyrolese  Landsturm  returning  from  the  War  of 
1809,"  is  in  the  National  Gallery  at  Berlin.  Among  his  works  are 
the  "  Speckbacher/'  "  The  Prize  Horse  "  (one  of  his  fine  pictures,  and 
owned  in  New  York),  "  Saying  Grace,"  and  "  The  Wrestlers." 

"  One  who  observes  his  pictures  does  not  easily  forget  the  powerful  impression  which 
they  make.  He  does  not  attempt  to  give  an  effect  of  great  passion  or  uncontrollable 
enthusiasm  to  the  weather-beaten  faces  which  he  depicts  ;  he  gives,  instead,  a  cold,  hard 
energy."  —  R.  D.,  Zeitschrift  fur  oildende  Kunst,  1875. 

"  Defregger  has  justly  earned  a  foremost  position  for  compositions  taken  from  peasant 
life.  Truth  to  nature,  admirable  color,  texture,  and  character  all  seem  to  be  in  equal  pro- 
portions. He  selects  many  of  his  subjects  from  the  picturesque  life  of  the  Tyrol,  and 
each  one  of  his  paintings  is  inspired  by  a  distinct  individuality  of  its  own.  We  are  not 
constantly  confronted  by  the  same  faces  doing  service  in  different  pictures,  a  weakness 
too  common  with  some  artists,  but  every  composition  seems  a  new  conception  ;  De- 
fregger finds  the  phases  of  human  nature  so  infinitely  various  that  he  rarely  repeats 
himself.  He  seems  also  to  have  a  keen  insight  into  the  character  of  animals,  and  the 
action  and  expression  of  his  dogs  and  horses  appear  almost  human."  —  S.  G.  W.  Benja- 
min, Contemporary  Art  in  Europe. 

Degeorge,  Charles-Jean-Marie.  (Fr.)  Born  at  Lyons.  Prix  de 
Rome,  1866.  Medals  in  1872  and  '75.  Pupil  of  Duret,  H.  Flan- 
drin,  and  Jouffroy.  At  Paris,  in  1877,  he  exhibited  a  portrait  bust  in 
bronze  ;  in  1876,  two  portrait  busts,  one  being  that  of  H.  Regnault  ; 
in  1875,  a  marble  statue,  "  The  Young  Aristotle"  ;  and  in  1874,  mar- 
ble bust  of  Stanislaus  Julien. 

Deger,  Ernest.  (Ger.)  Born  at  Bockenheim,  1809.  Member  of 
the  Academies  of  Munich  and  Berlin,  and  Professor  at  the  School  of 
Fine  Arts  at  Munich.  Pupil  at  the  Academy  of  Dusseldorf,  under 
Schadow.  This  artist  is  one  of  the  company  who,  with  Overbeck  at 
their  head,  were  called  "  Nazarites."  When  the  Count  of  Furstem- 
berg-Stammheim  made  a  vow  to  build  the  church  of  St.  Apollinaris 
at  Remagen,  on  the  Rhine,  he  employed  Deger  ;  some  of  whose  most 
important  works  are  in  that  church.  The  Emperor  of  Germany  com- 
missioned him  to  decorate  the  chapel  of  the  chateau  of  Stolzenfels. 
Deger  has  sent  a  few  works  to  the  Paris  Salons.  In  the  Leipsic 
Museum  is  a  colored  sketch  of  his  picture  of  the  "  Fall  of  Man,"  at 
Stolzenfels. 

De  Haas,  William  Frederick.  (Dutch-Am.)  Born  at  Rotter- 
dam (1830-1880).  Brother  of  M.  F.  H.  De  Haas.  Belongs  to  an 
artistic  family,  and  began  at  an  early  age  to  sketch  from  nature. 
Was  a  student  of  the  Academy  of  Fine  Arts,  Rotterdam,  and  pupil  of 
Bosboom  at  the  Hague.    Left  Holland  in  1854,  and  settled  in  New 


192     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


York,  giving  his  entire  attention  to  the  painting  of  coast  scenery. 
His  "  Scene  on  the  Coast  of  Maine  "  belongs  to  Mrs.  Edward  0.  Bird 
of  New  York  ;  his  "  Old  Orchard  Beach  "  to  Major  Theodore  Y.  Gibbs. 
He  exhibited  at  the  National  Academy,  New  York,  in  1867,  "  Sunrise 
on  the  Susquehanna  "  ;  in  1874,  "  Fishing-Boats  off  Mt.  Desert  "  and 
"  Boon  Island,  Coast  of  Maine  "  ;  in  1875,  "  Midsummer  Noon,  Bid- 
deford  Beach,  Coast  of  Maine  "  ;  in  1876,  "  Lower  Harbor  of  Halifax, 
N.  S.,"  and  "  Evening  at  Halifax  "  ;  in  1877,  "  Narragansett  Pier." 

De  Haas,  M.  F.  H.,  N.  A.  (Dutch- Am.)  Born  at  Rotterdam, 
1832.  Pupil  of  the  Academy  of  Fine  Arts  of  his  native  city.  In 
1851  he  went  to  London,  where  he  remained  a  year,  painting  in  water- 
color.  Later  he  sketched  on  the  English  and  Dutch  coasts,  and 
studied  under  Louis  Meyer  at  The  Hague  for  two  years.  In  1857  he 
received  the  appointment  of  Artist  to  the  Dutch  Navy.  In  1859  he 
settled  in  New  York,  was  elected  Associate  of  the  National  Academy 
in  1863,  and  Academician  in  1867,  and  was  one  of  the  original  mem- 
bers of  the  American  Society  of  Painters  in  Water-Colors  in  1866. 

In  1867  he  sent  to  the  National  Academy  his  "  Farragut's  Fleet 
passing  the  Forts  below  New  Orleans  "  ;  in  1868,  "  Off  the  Coast  of 
France";  in  1869,  "The  Yacht  Dauntless  off  Dover,  England" 
(painted  for  James  Gordon  Bennett,  Jr.)  ;  in  1870,  "  Deserting  the 
Burning  Ship  "  ;  in  1871,  "  Sunset  at  Sea  "  ;  in  1874,  "  The  Breaking 
up  of  a  Storm  at  Star  Island  "  ;  in  1875,  "  The  Beach  at  West  Hamp- 
ton "  and  "  Storm  on  the  Coast "  (belonging  to  J.  G.  Brown) ;  in 
1876,  "Early  Morning  off  the  Coast"  and  "White  Island  Light- 
House"  ;  in  1877,  "Drifted  Ashore  in  a  Fog"  ;  in  1878,  "Beach  at 
Granville,  Coast  of  France and  "  Fishing-Smacks  in  the  English 
Channel."  He  was  commended  by  the  judges  at  the  Centennial  in 
1876.  Among  his  other  well-known  works  are, "  Long  Island  Sound  by 
Moonlight,"  "  Passing  Shower,"  "  Near  Newport,"  "  The  Shipwreck  " 
(in  the  Belmont  Gallery),  and  "A  Marine  View,  Scarborough" 
(in  the  John  Taylor  Johnston  Collection).  His  "  Moonrise  and  Sun- 
set "  belongs  to  E.  D.  Morgan  ;  "  Dundle  Cove,  Isle  of  Wight,"  to 
H.  P.  Cooper  ;  and  "  Sunset  at  Cape  Ann,"  to  H.  P.  Kidder  of  Bos- 
ton. His  "  Rapids  above  Niagara  "  was  at  the  Paris  Exposition  of 
1878. 

"In  the  treatment  of  moonlight  scenes  at  sea  De  Haas  has  but  few  equals.  ....  His 
manner  of  handling  is  broad  and  vigorous.  He  confines  his  attention  mostly  to  the 
painting  of  large  pictures,  and  in  these  the  bold  and  dashing  vigor  of  his  pencil  has  full 
scope  His  pencil  is  equally  facile  whether  portraying  a  storm  on  the  coast,  moon- 
light effect  at  sea,  or  the  brilliancy  of  the  sunset  hour."  —  Art  Journal,  Ootober,  1875. 

"  Mr.  De  Haas  exhibited  'Moonrise  and  Sunset '  and  'A  Brig  hove-to  for  a  Pilot,' both 
marked  by  a  strong  German  manner,  brilliant  in  effect  and  vigorous  in  treatment,  though 
somewhat  formal."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition 
0/1876. 

"  '  The  Sxinset  at  Cape  Ann,'  by  M.  F.  H.  De  Haas,  has  been  mentioned  in  our  col- 
umns, and  has  already  been  seen  by  many  of  our  citizens.  It  is  a  picture  that  is  much 
admired,  but  it  does  not  escape  criticism.   The  effect  of  introducing  the  '  praise- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  193 


meeting '  is,  at  least,  questionable,  —  we  think  it  is  a  fault.  The  large  group  of  crowded 
figures  on  the  summit  of  the  rock,  illumined  by  the  red  light  of  the  setting  sun,  dis- 
tracts the  attention,  and  by  so  much  detracts  from  the  unity  and  power  of  the  specta- 
tor's impression.  The  glorious  clouds,  the  splendor  on  the  sea,  and  the  steadfast, 
water-worn  rocks  are  enough,  and  all  that  properly  belong  to  the  picture.  The  '  praise- 
meeting  '  may,  for  aught  the  picture  itself  tells,  be  a  picnic-party.  This  is  a  picture  of 
a  sunset,  of  which  the  '  praise-meeting '  is  an  adventitious  and  illegitimate  feature. 
For  the  rest,  it  is  grand,  beautiful,  and  true,  and  may  be  looked  at  for  a  long  time  with- 
out satiety  of  interest."  —  Boston  Advertiser. 

De  Haas,  J.  H.  L.  {Belgian.)  Of  Brussels.  Chevalier  of  the 
Order  of  Leopold.  At  the  Latham  sale,  New  York,  1878,  "The 
Coming  Storm,  —  Dutch  Cattle  "  (37  by  62)  sold  for  $  2,725.  At  the 
British  Institution,  in  1873,  he  exhibited  two  pictures.  One,  repre- 
senting two  cows,  was  very  naturally,  though  somewhat  sketchily, 
painted.  The  other  was  called  "  The  Approaching  Storm."  At  Phila- 
delphia,  in  1876,  was  seen  his  "  Cattle  in  the  Meadows  of  Holland." 

"  [Thirteenth  Exhibition  of  the  New  British  Institution.]  On  entering,  we  find  the 
place  of  honor  at  the  left  end  of  the  gallery  nobly  filled  by  J.  H.  L.  De  Haas,  one  of  the 
greatest  of  living  animal-painters.  A  group  of  well-fed  cattle,  splendidly  drawn  and 
modeled,  is  resting,  at  summer-noon,  under  the  watchful  eye  of  a  peasant-girl,  on 
pastures  which  run  down  to  the '  Sea-coast  of  Picardy. '  The  fidelity  with  which  the 
breed  of  cattle  is  represented,  the  local  truthfulness  of  the  scene,  and  the  solidity  with 
which  the  whole  is  painted,  must  call  forth  the  admiration  of  every  one.''  —  London 
Art  Journal,  January,  1876. 

"  [International  Exhibition,  Conduit  street.]  De  Haas,  whose  cattle-pieces  are  so  justly 
admired,  is  seen  in  considerable  force.  De  Haas,  who,  in  the  landscape  portion  of  his 
pictures,  often  seeks  the  aid  of  Verheyden,  may  be  compared  with  the  German  Schleich, 
who  combines  with  his  mastery  over  cattle  a  pleasing  facility  in  landscape.  His  '  Au- 
tumn,' with  cattle  standing  in  the  water  and  rain-clouds  overhead,  is,  in  this  respect,  a 
fair  example  of  his  power."  —  London  Art  Journal,  July,  1876. 

Dehodencq,  B.  A.  Alfred.  {Ft.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Cogniet.  In  1877  he  exhibited,  at  the 
Paris  Salon,  "The  Story-Teller  of  Morocco,  —  Souvenir  of  Tangiers  " ; 
in  1876,  "  The  Raising  of  the  Daughter  of  Jairus  "  ;  in  1875,  "  The 
Beader"  and  portraits;  in  1874,  "Dance  of  Negroes  at  Tangiers," 
"Arab  Children  playing  with  a  Turtle"  and  "A  Jewish  Bride  at 
Tangiers";  in  1873,  "Othello"  and  portraits;  in  1870,  "A  Jewish 
Fete  at  Tangiers"  and  a  portrait.  His  "Course  de  taureaux  en 
Espagne"  (1850)  is  in  the  Luxembourg.  At  the  Salon  of  1878  he 
exhibited  "  Bacchus."    [Died,  1882.] 

Dehodencq,  Edmond.  (Fr.)  Born  at  Cadiz  of  French  parents. 
Pupil  of  his  father.  He  has  exhibited  several  works  at  the  Paris 
Salons. 

Dejonghe,  John  Baptist.  (Flemish.)  Born  at  Courtrai  (1788  - 
1844).  This  artist  was  successful  as  a  landscape-painter,  and  received 
medals  at  expositions  in  Paris,  Lyons,  Brussels,  Amsterdam,  The 
Hague,  and  Vienna.    He  was  at  the  head  of  a  school  at  Brussels. 

De  Jonghe,  Gustave.  (Belgian.)  Born  at  Courtrai,  1828.  Gold 
medal  at  Antwerp,  1862.    Medal  at  Paris,  1863.    Pupil  at  the  Acad' 

9  M 


194     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


emy  of  Brussels  under  Navez.  His  parents  died  when  he  was  young, 
and  the  Corporation  of  Courtrai  granted  him  a  small  pension  to  aid 
him  in  pursuing  his  studies.  Louis  Gallait  was  his  friend,  and  as- 
sisted him  with  advice  and  suggestions  which  helped  to  form  his 
style.  He  essayed  portraits,  historical  and  sacred  subjects,  but  later 
adopted  genre  scenes,  upon  which  his  fame  rests.  Among  his  works 
are,  "  Notre  Dame  de  Bon  Secours,"  "  The  Orphans  and  their  God- 
mother," "  The  Twins,"  "  Devotion  "  (1864),  purchased  by  the  Prin- 
cess Mathilde,  and  "  Peep  Bo  !  "  At  the  Royal  Academy,  London,  in 
1875,  he  exhibited  "  The  Birthday  Wishes." 

De  Kay,  Helena  (Mrs.  R.  Watson  Gilder).  {Am.)  Living 
and  painting  in  New  York,  she  has  exhibited  at  the  National  Acad- 
emy, since  1874,  flower-pieces  and  decorative  panels  ;  in  1878,  she 
sent  "  The  Young  Mother."  The  only  woman  then  a  member  of 
the  Society  of  American  Artists,  she  contributed  to  its  first  exhibi- 
tion, in  1878,  "  The  Last  Arrow "  (a  figure-piece),  also  a  picture  of 
still-life  and  a  portrait. 

Delaborde,  Viscount  Henri.  (Fr.)  Born  at  Rennes,  1811. 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Per- 
petual Secretary  of  the  Academy  of  Fine  Arts.  Pupil  of  Delaroche. 
Among  his  pictures  are,  "  The  Confessions  of  St.  Augustine  "  (1853), 
"  The  Death  of  St.  Monica  "  (1838),  etc.  Nearly  all  are  of  religious 
subjects,  a  few  being  historical,  such  as  "  The  Taking  of  Damietta." 

Delaborde  is  also  a  literary  man,  and  has  written  several  books 
upon  the  Fine  Arts. 

Delacroix,  Ferdinand-Victor-Eugene.  (Fr.)  Born  at  Charen- 
ton  (1798-1863).  Member  of  the  Institute.  Commander  of  the 
Legion  of  Honor.  Pupil  of  Pierre  Guerin,  whose  manner  he  aban- 
doned to  become  a  "  romanticist."  His  first  picture,  exhibited  at  the 
Salon,  was  that  of  "  Dante  and  Virgil,"  in  1822.  It  was  followed  by 
"  The  Massacre  of  Scio "  (1824),  "  The  Death  of  the  Doge  Marino 
Faliero,"  "  Greece  on  the  Ruins  of  Missolonghi,"  and  "  Christ  in  the 
Garden  of  Olives  "  (1827).  "  The  Death  of  Sardanapalus  "  is  a  very 
famous  picture.  Any  proper  list  of  his  works  would  demand  more 
space  than  can  here  be  given.  They  embrace  all  sorts  of  subjects. 
At  times  he  was  obliged  to  execute  small  pictures  for  his  support.  He 
also  did  large  decorative  works,  which  are  seen  in  the  churches  and 
galleries  of  France.  His  illustrations  of  "Faust"  were  approved  by 
Goethe  himself.  He  traveled  in  Spain,  Algiers,  and  Morocco,  and 
thus  represented  Eastern  scenes  in  a  manner  unusual  in  his  day.  The 
prices  of  his  pictures  have  become  enormously  large.  His  "  Marino 
Faliero  "  was  first  sold  for  £  400,  and  in  late  years  brought  £  4,000. 
His  "  Amende  Honorable  "  was  sold  to  the  Duke  of  Orleans  for  £  60, 
and  of  late  years  £  2,400  has  been  offered  for  it  without  being  ac- 
cepted. In  Paris,  in  1874,  his  "Bride  of  Abydos"  brought  £1,282  ; 
"  A  Lion  devouring  a  Rabbit,"  £  1,408.    At  the  Laurent-Richard 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  195 


sale,  Paris,  1873,  "  Medea  "  sold  for  £  2,360.  "  The  Convulsionnaires 
of  Tangiers  "  represents  lunatics  who  are  more  extreme  even  than  the 
Dervishes  in  their  behavior.  It  was  sold  in  1863  to  the  Marquis  du 
Lau  for  20,000  francs  ;  at  the  Fould  sale  it  brought  £  1,940.  At  the 
Oppenheim  sale,  Paris,  1877,  the  Duke  d'Aumale  paid  70,500  francs  for 
"  The  Two  Foscari,"  by  Delacroix.  This  artist  has  been  called  "  the 
Victor  Hugo  of  painting."  At  the  Johnston  sale,  New  York,  1876,  a 
sketch  for  his  large  picture  of  "Dante  and  Virgil"  (13  by  19)  sold 
for  $750. 

"  The  most  striking  characteristic  of  the  works  of  Delacroix  is  the  force  of  the  im- 
agination. His  most  moving  dramas  have  not  poetic  truth  alone  ;  they  are  evocations 
fixed  on  canvas.  The  painter  makes  nearly  all  his  works  without  models.  When  he 
begins  to  tax  his  memory,  it  is  only  at  rare  moments  that  he  hesitates.  From  positive 
forms  and  real  expressions  he  takes  only  those  most  sympathetic  with  his  own  temper- 
ament, or  his  preconceived  ideas  ;  he  folds  them  according  to  his  dreams,  to  his  inven- 
tions, and  treats  them  as  slaves.  Men,  auimals,  rocks,  trees,  seas,  and  clouds  are,  to 
his  eyes,  only  the  different  words  of  the  grand  language  of  Creation  ;  and  he  opens  the 
dictionary  no  oftener  than  a  poet  who  is  sure  of  himself  will  consult  the  Academy. 
For  him  all  composition  is  the  combination  of  exterior  elements  which  he  has  seen,  and 
which  he  colors  with  his  own  passions  ;  he  lights  his  pictures  with  the  lights  of  his 
soul  That  which  makes  Delacroix  the  greatest  artist  of  the  nineteenth  cen- 
tury, and  perhaps  the  last  of  the  grand  family,  is  that  he  unites  all  the  faculties  of  the 
painter,  the  poet,  and  the  historian  by  an  innate  power  and  a  profound  knowledge.  He 
sows,  with  an  abundance  which  astonishes  the  dramatist,  the  psychologist,  and  the 
Christian,  human  passions  on  his  canvas  and  in  the  soul  of  the  beholder  like  pernicious 
seeds.  He  recalls  Rembrandt  by  the  expression  of  his  faces  and  the  fascination  of  the 
effects  of  light,  Veronese  by  the  spirit,  the  charm,  and  the  fineness  of  the  color,  Rubens 
by  the  splendor  of  the  decorations  and  the  bluster  of  the  handling,  and  Raphael  him- 
self by  the  harmonious  and  skillfully  designed  arrangement  of  the  personages,  Michael 
Angelo  by  the  grandiose,  and  Ribera  by  the  terrible.  He  seduces  and  carries  off,  turn  by 
turn,  the  high  intelligences  and  venturesome  temperaments,  by  nobleness,  audacity, 
pride,  love  of  the  beautiful  and  the  heroic,  by  ruse,  force,  and  infernal  machinations.  But 
he  is,  above  all,  the  man  of  our  time  ;  full  of  moral  maladies,  of  betrayed  hopes,  of 
doubts,  of  torments,  of  sarcasms,  of  angers,  and  of  tears  ;  the  blindness  of  ignorance, 
the  intrigues  and  clamors  of  envy,  have  not  arrested  him  for  an  instant  in  his  valiant 
and  glorious  course,  and  will  never  prevail  against  him  with  posterity."  —  Living  Artists, 
Th^ophile  Silvestre. 

"  Delacroix  is  a  great  colorist  in  point  of  original  force,  though  not  the  most  perfect 
in  practice.  It  comes  of  his  blood.  He  thinks,  speaks,  invents,  in  color.  Subjects  are 
chosen  to  admit  of  its  prodigal  use.  He  discharges  it  like  a  burst  of  fireworks.  His 
pictures  overpower  by  their  fury  of  brush.  For  it  he  often  neglects  design.  With  the 
zeal  of  a  revolutionist  he  bears  the  spectator  away,  or  dashes  him  aside  like  an  impetu- 
ous torrent.  He  treats  color  as  Buonarotti  did  design.  No  pupil  can  follow  him. 
There  is  little  beauty  in  it,  less  grace,  no  tenderness,  and  no  faith ;  but  everywhere 
is  seen  a  creative,  untiring  intellect,  surging  and  foaming  in  a  colored  sea  of  passion. 
Delacroix  delights  in  the  dark  side  of  life.  Famine,  imprisonment,  martyrdom,  the 
desolations  of  war,  massacres,  cruelties,  orgies,  tragedy;  Hamlet,  Macbeth,  Othello; 
madness,  melancholy,  and  crime,  —  these  are  the  themes  that  inspire  his  brush.  To 
Dante's  '  Inferno '  he  turns  for  choicest  topics.  Tasso's  insanity,  Byron's  ravings,  the 
society  of  madmen,  or  madness  turned  inward  to  gnaw  upon  itself,  the  latent  ferocity  of 
wild  beasts,  alike  charm  him.  See  his  tiger's  head  in  the  Luxembourg  ;  a  mere  sugges- 
tion in  form  and  color,  yet  exhibiting  this  pitiless,  blood-dreaming  animal  in  its  most 
sinister  aspect.    Look  at  his  *  Massacre  of  Scio,'  for  a  revolting  accumulation  of  the 


196     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


horrors  of  war  ;  nothing  pathetic,  nothing  exalted  as  patriotism,  or  sublime  in  resigna- 
tion, but  a  reveling  in  the  atrocious,  cruel,  and  ensanguined,  without  any  palliation  by 
way  of  idealism  in  design.  Instead,  every  possible  heightening  of  physical  horror,  with 
crude,  coarse,  contrasted,  loaded  colors,  and  scattered  lights,  shocking  and  confusing 

the  senses  Mythology,  instead  of  beautiful  fable,  affords  him  a  copious  supply 

of  monsters,  and  slaughter  of  every  variety.  ....  His  peculiar  powers  culminate  in 
the  '  Apollo  triumphing  over  Python,'  which  occupies  the  post  of  honor  in  the  ceiling  of 
the  Apollo  Gallery  of  the  Louvre.  Here  he  absolutely  creates  a  light  glowing  with  the 
tire  of  the  combat.  He  is  borne  away  by  the  intensity  of  his  conceptions,  he  looms  up 
as  a  great  dramatic  genius  of  unbalanced  powers  ;  the  focus  of  the  strongest  and  deepest 
qualities  of  the  national  proclivities  in  art.  Like  all  great  artists,  he  loves  space.  But 
he  also  has  the  ability  to  put  greatness  into  small  compass.  When  called  on  to  deco- 
rate St.  Sulpice  or  the  chapel  of  St.  Denis  du  Sacrament  in  the  Marais,  the  calmer  re- 
quirements of  religious  art  failed  to  temper  his  impetuous  palette.   The  Virgin  is  frantic 

with  earthly  woe.   Mary  Magdalene  gives  herself  up  to  equally  tragic  sorrow  

Delacroix  was  an  enigma  to  his  countrymen  at  large,  for,  although  genuinely  French 
in  temperament  and  thought,  his  range  of  imagination  was  above  theirs.  He  had  no 
sympathy  whatever  with  the  worship  of  the  *  pretty.'  The  large  and  terrible  pleased 
him  most.  If  his  genius  had  been  qualified  by  grace,  could  he  have  attained  harmony 
in  coloring,  and  unity  of  graduated  lights  focused  to  the  emphatic  point,  and  given  more 
heed  to  aesthetic  principles  in  composition,  —  he  might  have  rivaled  Paul  Veronese, 
whom  he  so  admired  as  to  assert  that  to  him  he  owed  everything.  As  it  is,  he  cannot 
be  called  the  equal  of  the  brilliant  Venetian.  Although  color  was  a  vital  force  in  him, 
and  also  creative  design,  neither  was  under  perfect  control.  Draperies  are  often  sketchy, 
leathery-like,  and  ill-adjusted,  encumbering  and  obscuring  rather  than  suggesting  form 
and  life.  His  great  triumphs  are  in  wall  decoration,  whether  in  fresco  or  oil.  But  his 
tints  are  often  dry,  crude,  dead,  lack  transparency,  and  do  not  harmoniously  blend. 
Flesh-hues,  in  his  easel  work,  are  apt  to  be  cold  and  clayey.  Lights,  too,  are  confused 
and  scattered.  There  is  also  frequent  want  of  unity  of  tone.  His  feeling  for  color  is 
based  on  passion  more  than  sentiment;  splendid,  but  coarse.  Still  everything  he 
touches  bears  a  master's  solid  impress."  — Jabves,  Art  Thoughts. 

Delacroix,  Henri  Eugene.  (Fr.)  Born  at  Solesmes,  near  Cam- 
brai.  Pupil  of  Cabanel.  At  the  Paris  Salon  of  1870  he  exhibited 
"  The  Death  of  Jacob  "  and  the  "  Two  Foscari."  He  was  then  com- 
missioned to  paint  a  "  Way  of  the  Cross  "  for  the  church  at  Solesmes. 
At  the  Salon  of  1877  he  exhibited  "  Prometheus"  ;  in  1876,  "  The 
Eebellious  Angels,"  purchased  by  the  State  ;  in  1875,  "  Dante  and 
Virgil,"  now  in  the  Museum  of  Cambrai ;  and  in  1878,  "  Christ  in 
the  Tomb." 

Delaplanche,  Eugene.  (Fr.)  Born  at  Paris,  1836.  Several 
medals.  Chevalier  of  the  Legion  of  Honor.  Medal  of  honor  in 
1878.  This  sculptor  was  a  pupil  of  Duret,  and  took  the  grand  prix 
de  Rome  in  1864.  His  first  two  statues  are  in  the  Museum  of  Mar- 
seilles, "  A  Quid  on  a  Turtle  "  and  "  A  Pecoravo."  At  the  Luxem- 
bourg is  his  "  Eve  after  the  Fall "  and  "  The  Message  of  Love  "  (statues 
in  marble).  Among  his  other  works  are,  "  St.  Agnes  "  (marble  statue, 
purchased  by  the  Ministry  of  the  Fine  Arts),  "  Music "  (statue  in 
silvered  bronze),  "  Maternal  Education"  (group in  marble),  and  "La* 
Vierge  au  lys  "  (statue  in  marble).  Delaplanche  has  also  executed, 
in  public  monuments  in  Paris,  a  fronton  at  the  Tuileries  ;  at  the 
church  of  St.  Eustache,  a  statue  of  St.  Agnes,  in  stone  ;  at  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  197 


church  of  St.  Joseph,  three  statues  in  stone,  representing  the  Virgin, 
the  Infant  Jesus,  and  St.  Joseph;  a  bas-relief  of  "  Meditation"  in  a 
pavilion  of  the  Tuileries  ;  two  decorative  figures  in  the  avant  foyer 
of  the  New  Opera-House,  Paris  ;  "  Africa,"  at  the  Palace  of  the  Troca- 
dero  ;  etc.  At  Boulogne-sur-Mer  are  also  several  monumental  sculp- 
tures by  Delaplanche.  Besides  the  works  mentioned  he  has  made 
many  portrait  busts  and  ideal  works  of  less  importance.  His  "  Music," 
when  exhibited  at  the  Salon  of  1877,  attracted  much  attention.  It 
was  praised  by  Mario  Proth  in  his  "  Voyage  au  Pays  des  Peintres," 
and  by  Ch.  Timbal  in  the  "  Gazette  des  Beaux- Arts,"  June,  1877,  who 
says,  "  It  certainly  remains  one  of  the  most  perfect  productions  of  art 
of  our  time."  Delaplanche  has  recently  modeled  in  relief  the  dec- 
orations of  some  exquisite  vases  of  the  Haviland  faience.  (The 
makers  of  this  faience  received  from  the  jury  of  the  Paris  Exposi- 
tion of  1878  a  gold  medal  and  the  Cross  of  the  Legion  of  Honor.) 
Some  of  the  vases  by  Delaplanche  which  were  exhibited  at  Philadel- 
phia in  1876  were  chefs-d'oeuvre,  and  quite  sufficient  to  make  a  reputa- 
tion for  an  artist  not  already  distinguished.  Each  piece  of  faience 
modeled  by  this  sculptor  bears  his  name,  and  his  designs  are  never 
molded. 

Delaroche,  Hippolyte,  called  "  Paul."  (Fr.)  Born  at  Paris  (1797  - 
1856).  Member  of  the  Institute.  Ofiicer  of  the  Legion  of  Honor. 
Professor  of  Painting  atl'^cole  des  Beaux- Arts  after  1833.  Pupil  of 
Baron  Gros.  He  made  his  debut  at  the  Salon  of  1819,  with  "Naph- 
tali  in  the  Desert."  The  largest  work  of  this  famous  painter  is  the 
"  Hemicycle,"  in  the  theater  of  the  Palace  of  the  Beaux- Arts,  Paris. 
It  contains  seventy-five  life-size  figures,  and  employed  him  four  years. 
"W  e  cannot  here  give  any  adequate  account  of  his  life  and  works,  of 
which  so  much  has  been  written  ;  we  can  only  suggest  what  will 
assist  one  to  enjoy  his  pictures,  and  give  a  few  prices  of  his  works  in 
these  days.  At  the  San  Donato  sale  his  "  Lady  Jane  Grey  "  sold  for 
110,000  francs.  At  the  Norzy  sale,  Paris,  1860,  "Jesus  in  the  Gar- 
den of  Olives  "  sold  for  8,000  francs.  At  a  London  sale  in  1874,  a 
Portrait  of  Napoleon  I.,  from  the  collection  of  Napoleon  III., 
brought  £  430.  At  the  Delessert  sale,  1869,  "  St.  Cecilia  "  sold  for 
£840.  At  the  Johnston  sale,  New  York,  1876,  the  "  Nymph  at  the 
Fountain"  (8  by  10),  from  the  Pourtales  sale,  brought  $  1,050,  and  a 
study  for  the  portrait  of  Philibert  Delorme,  architect,  for  the  "  Hemi- 
cycle "  (6  by  5),  $  460.  At  the  Walters  Gallery,  Baltimore,  is  a  large 
and  interesting  work  by  Delaroche  ;  it  is  his  finished  study,  from 
which  he  and  his  scholars  painted  the  "  Hemicycle  "  ;  also,  a  picture 
executed  in  part  by  Delaroche  and  completed  by  Jalabert. 

"  As  a  painter,  technically  considered,  Delaroche  was  very  careful  and  very  skillful. 
Before  painting  a  picture  he  made  studies  of  the  composition  and  of  all  the  parts,  and 
often  also  wax  models  of  the  groups.  He  was  slow  and  conscientious  in  work,  and 
liked  to  work  alone ;  he  did  not  care  for  society,  and,  though  not  an  unhappy  man,  was 
decidedly  a  melancholy  one.  He  seems  to  have  possessed  talent  and  courage  rather  than 


198     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


genius  ;  his  works,  however,  are  popular,  and  deservedly.  Delaroche  is  one  of  the  hest 
artists  who,  in  these  days,  have  come  down  to  the  popular  understanding.  His  execu- 
tion has  never  any  of  the  wonderful  subtlety  or  short-hand,  none  of  the  suggestion  of 
really  great  work,  which  is  readable  only  by  the  few  ;  but  then  it  also  avoids  most  of  the 
faults  which  often  attend  a  popular  manner.  It  is  simple  and  clear,  not  very  artistic, 
and  certainly  not  at  all  poetical,  though  there  is  poetry,  or  a  feeling  for  poetry,  which  is 
not  quite  the  same  thing,  in  Delaroche's  choice  and  treatment  of  subjects.  For  instance, 
in  his  '  Napoleon  crossing  the  Alps,'  the  artist  shows  that  he  understands  the  poetry 
of  the  simple  fact,  and  Napoleon  pensive  on  his  mule,  which  another  hand  is  lead- 
ing, affects  us  more  than  David's  general  on  his  imaginary  charger.  Delaroche  was 
not  a  creative  poet,  but,  like  some  other  elevated  minds,  had  a  sense  of  the  poetical 
element  in  reality.  When  he  abandons  reality  it  is  to  his  disadvantage.  I  have  not 
seen  his  '  Hemicycle  '  for  some  years,  but  remember  being  impressed  rather  with  the 
trained  steadiness  of  the  execution  than  any  vitality  in  the  idea.  A  picture  where  men 
of  different  epochs  are  represented  together  must  always  seem  incongruous,  and  the 
same  objection  applies  to  the  Homeric  ceiling  of  Ingres."  —  Philip  Gilbert  Hamer- 
ton,  Painting  in  France. 

"Delaroche  is  another  exceptional  artist,  noteworthy  for  his  poetical  conception  of 
historical  themes,  his  elevated  religious  spirit,  and  his  chaste  manner.  He  is  an  acade- 
mician, with  a  mind  enlarged  by  study,  and  governed  by  purer  taste  than  that  about 

him  He  composed  well,  even  eloquently  ;  drew  poems,  elaborated  academic  work, 

but  with  less  of  that  consciousness  of  hard  toil  which  is  apparent  with  Ingres  ;  had  a 
noble  sense  of  the  human  figure,  an  elevated  appreciation  of  the  true  purposes  of  art : 
was  tranquil  and  dignified,  and  would  have  been  a  great  painter  had  his  talents  for  col- 
oring been  equal  to  his  other  merits.  In  this  respect  he  fails.  His  color  is  heavy,  posi- 
tive, and  speechless.  It  even  tells  against  the  intellectual  motives  of  his  pictures.  Like 
most  moderns,  he  appears  best  in  engraving.  The  chiefs  of  the  old  masters  lose  by  it. 
....  The  conscientious  career  of  Delaroche  is  an  instructive  example  in  his  school.  His 
temperament  being  melancholy,  the  subjects  chosen  by  him  were  generally  of  that 
stamp.  There  was  in  him  no  spontaneity  of  execution,  but  rather  slow,  toilsome  com- 
position ;  a  continual  struggle  towards  an  ideal  which,  as  in  everything  human,  kept 
ever  the  same  distance  from  the  painter's  easel.  Each  acquisition  lifted  the  artist's 
standard  a  step  higher.  An  eclectic  student,  laboring  to  arouse  emotion  by  dramatic 
incidents  taken  quite  as  often  from  foreign  history  as  his  own,  mostly  path  etic  and 
with  a  profound  moral,  having  a  sympathy  with  suffering,  viewing  facts  in  their  poetical 
aspect,  Delaroche  is  a  man  of  striking  talents  and  fine  sensibilities,  but  not  a  genius 
in  its  large  meaning.  His  intellectual  faculties  were  so  well  balanced  that  he  could 
have  won  distinction  in  any  other  career."  — Jarves,  Art  Thoughts. 

Delaunay,  Jules  Erie.  (Fr.)  Born  at  Nantes.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  H.  Flandrin  and  Lamothe.  At  the  Salon 
of  1877  he  exhibited  two  portraits  ;  in  1876,  "  Ixion  cast  into  Hades  " 
and  a  portrait ;  in  1875  and  '74,  portraits.  The  "  Communion  of  the 
Apostles"  (1865)  is  in  the  Luxembourg  ;  also  "  The  Pest  at  Rome  " 
(1869),  "  The  Death  of  Nissus  "  (1870),  and  "  Diana  "  (1872). 

Delobbe,  Francois-Alfred.  (Fr.)  Born  at  Paris.  Medals  in 
1874  and  '75.  Pupil  of  Lucas  and  Bouguereau.  At  the  Salon  of 
1877  he  exhibited  "  Springtime  "  and  a  portrait  ;  in  1876,  "  The  Vir- 
gin and  Child  "  and  a  portrait  ;  in  1875,  "  Pyramus  and  Thisbe,"  "  A 
Daughter  of  the  Fields,"  and  a  portrait  ;  in  1874,  "  Country  Music," 
"The  Return  from  the  Fields,  at  Saint-Briac,"  and  "  Marie  Jeannic, 
—  Souvenir  of  Finistere  "  ;  and  in  1878,  "  Lobster-Fishing  "  and 
"  The  Last  Arrow." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  199 


Delort,  Charles-Edouard.  (Fr.)  Born  at  Nimes.  Medal  in 
1875.  Pupil  of  Gleyre  and  Gerome.  His  picture  which  gained  the 
medal  was  the  "  Embarkation  of  Manon  Leseaut."  His  picture  in 
1876  was,  "  After  the  Breakfast,  —  a  Wedding  at  Fontainebleau."  At 
the  Walters  Gallery,  Baltimore,  is  his  "Carnival  at  Antwerp." 

Demi,  Emilio.  (Ital.)  Born  in  Leghorn  (1798).  Among  the 
best  works  of  this  famous  sculptor  are  the  statue  of  "  Galileo  in- 
structing his  Pupils,"  in  the  University  of  Pisa  ;  "  A  Mother  teaching 
her  Children,"  in  the  sacristy  of  the  church  of  Soccorso  in  Leghorn  ; 
a  statue  of  Dante  in  the  Accademia  Labronica,  and  a  second  statue  of 
the  same  poet  in  the  Loggia  of  the  Uffizi. 

Dengler,  Franz  X.  (Am.)  Born  in  Cincinnati,  Ohio,  1853.  Going 
abroad  at  an  early  age  for  the  purpose  of  study,  he  entered  the  Acad- 
emy of  Fine  Arts  in  Munich  under  Professor  Knabl,  and  received,  in 
1874,  the  large  silver  medal  of  that  institution  for  his  group  repre- 
senting the  "  Sleeping  Beauty,"  which  was  exhibited  the  same  year  in 
Cincinnati,  and  in  Boston  in  1875.  Returning  to  America,  he  settled 
in  Boston,  was  elected  a  member  of  the  Boston  Art  Club,  and  was, 
for  a  short  period,  instructor  in  modeling  in  the  School  of  the  Art 
Museum,  a  position  which  he  was  forced  to  resign  in  1877  by  reason 
of  ill-health.  He  went  therefrom  to  Cincinnati  and  to  Covington, 
Ky.,  on  his  way  to  Florida,  where  he  died  in  1879.  His  group, 
"  Azzo  and  Imelda,"  from  Mrs.  Hemans'  poem,  was  on  exhibition  in 
Cincinnati  in  1877.  Among  his  portrait  busts  are  those  of  William 
M.  Chase,  Currier,  and  other  American  artists  of  the  Munich  school. 
He  has  also  executed  ideal  busts  and  statuettes,  terra-cotta  vases,  etc. 
He  designed  an  ideal  head  of  "  America,"  a  "  Wounded  Duelist  "  and 
a  sketch  for  the  Sumner  statue,  which  came  too  late  for  competition. 

"  Dengler's  work  is  distinguished  for  combining  a  remarkable  truthfulness  of  minutiae 

and  detail  with  a  bold  and  fearless  freedom  and  breadth  of  handling  His  ideal 

figures,  his  vase  decorations,  and  modeling  show  also  a  warm  poetic  love  of  beauty  of 
form  in  rest  and  motion."  —  Boston  Transcript,  September  22,  1877. 

Denneulin,  Jules.  (Fr.)  Born  at  Lille.  Medal  in  1875.  Pupil 
of  Colas.  In  1877  he  exhibited  "A  Wedding-Dinner";  in  1876, 
"  Repose  of  Hunters  "  ;  in  1875,  "  Triste  recette  !  " 

Deschamps,  Louis.  (Fr.)  Born  at  Montelimar.  Medal  in  1877 
for  "  The  Poor  Little  Girl "  and  a  portrait  of  General  Chareton,  Sen- 
ator. Deschamps  is  a  pupil  of  Cabanel.  In  1878  he  exhibited  a  por- 
trait, "  The  Little  Winnower  defending  his  Grain." 

Desgoffe,  Blaise- Alexandre.  (Fr.)  Born  at  Paris.  Two  Salon 
medals.  Pupil  of  Flandrin.  This  painter  represents  still-life,  and 
reproduces  works  of  art  in  a  surprising  manner.  His  representations 
of  metals  of  different  sorts  is  remarkable,  and  was  especially  well 
shown  in  his  picture  at  the  Salon  of  1877,  which  represented  "  The 
Helmet  and  the  Shield  of  Gold  of  Charles  IX.,  the  Spur  of  Charle- 
magne, a  Carbine  of  the  Fifteenth  Century,  a  Missal  and  a  Gate 


200     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  Gallery  of  Apollo  at  the  Louvre."  At  the  Luxembourg  is 
"A  Vase  of  Amethyst,  Sixteenth  Century"  (1859);  ''A  Vase  of 
Rock  Crystal,  Sixteenth  Century,  a  Purse  of  Henry  II.,  and  an  Enamel 
of  Jean  Limousin"  (1863)  ;  etc.  In  1876  he  exhibited  at  the  Salon 
"  Tea  in  the  Eoom  of  an  Artist  "  and  "  An  Old  Pear- Tree  "  ;  in  1874, 
"  An  Engraved  Rock  Crystal  (Sixteenth  Century),  Agates,  and  En- 
amels, Poignard  of  Philippe  II.,  Collar  of  Louis  XIII.,"  etc.,  be- 
longing to  Miss  Wolfe,  also  "  Porcelains  of  Saxony,  and  other  Por- 
celains, a  Chalice,  a  Smyrna  Carpet"  (objects  in  the  collection 
of  the  Count  Welles  de  La  Valette,  to  whom  the  picture  belonged), 
and  "  A  Frieze  of  Sculptured  Wood,  a  Head  of  Bronze,"  etc.  Among 
his  other  works  are,  "  Fruits  and  Jewels  "  (1868),  "  Flowers  and  Fruits 
at  the  Foot  of  a  Venetian  Glass  "  (1866),  etc.  Many  of  his  pictures 
represent  objects  of  art  in  the  Louvre,  and  are  very  beautiful.  At  the 
Johnston  sale,  1876,  "  Objects  of  Art "  (33  by  24)  sold  for  $1,300.  At 
the  Corcoran  Gallery,  Washington,  is  his  "  Souvenirs  of  the  Sixteenth 
and  Seventeenth  Centuries  "  (1874).  One  of  his  works,  representing  a 
Moorish  Interior,  is  in  the  Walters  Gallery,  Baltimore.  At  the  Salon 
of  1878  he  exhibited  "  A  Vase,  Mirror,  Book,  and  Flowers." 

"  Desgoffe,  the  painter  of  still-life,  for  thorough  imitation  of  jewels,  tapestries,  objects  of 
art,  and  precious  things  in  general,  —  he  never  wastes  time  on  vulgar  things,  —  excels  even 
Dutchmen.  Perfect  in  design,  truthful  in  color,  finished  to  microscopic  exactness  of 
detail,  he  leaves  the  spectator  nothing  to  desire  in  these  respects.  But  it  is  unsatisfactory 
painting.  The  impression  is  of  intense  labor  and  Chinese  profitless  endurance  at  imita- 
tion. There  is  no  vital  sense  of  the  things  given.  They  are  flat,  hard,  polished,  dumb 
counterfeits.  Philippe  Rousseau,  in  the  same  line,  with  a  freer  brush  restores  the  con- 
sciousness of  the  things  themselves  to  us,  which  is  a  more  genuine  triumph. "  —  Jarves, 
Art  Thoughts. 

"  One  of  Flandrin's  pupils,  Blaise  Desgoffe,  has  this  claim  to  attention,  that  he  is  the 
most  skillful  imitator  of  near  objects  now  alive  in  the  world.  Of  course  such  art  as  his 
does  not  admit  of  invention ;  and  the  highest  artistic  qualities,  except  the  sense  of 
color,  are  almost  uncalled  for  here  ;  but  there  is  a  notable  difference  between  Desgoffe's 
choice  of  subject  and  that  of  vulgar  painters  of  still-life.  Instead  of  imitating  two- 
penny beer-bottles,  he  copies  fine  vases  of  crystal  and  rare  old  enamels ;  instead  of 
representing  kitchen  utensils,  he  reproduces  the  most  precious  ivories  and  agates  in  the 
Louvre.  His  art  is  therefore  noble  in  its  way,  being  the  best  use  of  a  sort  of  talent 
hitherto  often  thrown  away  upon  work  unworthy  of  it.  Desgoffe's  pictures  are  precious 
copies  of  precious  things.  As  to  their  finish,  it  goes  even  beyond  our  most  perfect  pre- 
Raphaelite  work.  As  in  all  first-rate  painting,  there  is  no  parade  of  detail,  and  a  care- 
less spectator  might  easily  pass  these  pictures  without  suspecting  that  there  was  any 
extraordinary  amount  of  it  in  them  ;  but,  after  studying  them  for  half  an  hour,  one's 
astonishment  grows  and  grows.  Every  vein  in  every  agate  is  studied  to  the  finest  of  its 
curves,  every  surface  imitated  to  the  most  accurate  expression  of  the  exact  degree  of 
Its  convexity ;  every  reflection  painted  in  its  full  detail.  Take  a  single  instance  ;  the 
principal  object  in  one  of  his  pictures  is  a  splendid  vase  of  rock-crystal,  of  the  four- 
teenth century.  On  several  of  its  facets  is  the  reflection  of  an  unseen  window.  Land- 
seer  would  have  represented  those  with  spots  of  pure  white  ;  Millais  with  spots  of  pale 
gray,  with  a  touch  of  white  for  the  highest  light,  the  largest  of  them  shaped  to  a  rough 
expression  of  the  window  reflected,  and  others  without  form.  But  Desgoffe  paints  every 
one  of  them  thoroughly  ;  the  panes  of  glass  in  the  window  being  quite  perfectly  reflected 
in  the  curving  surface  of  the  crystal  over  and  over  again,  with  all  the  modifications 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  201 


resulting  from  change  of  place.  There  is  not  the  slightest  attempt  in  any  part  of  these 
works  to  substitute  clever  manipulations  for  fair  study  and  imitation  Even  Hol- 
land herself  never  produced  so  marvelous  an  imitator."  —  Philip  Gilbert  Hamerton, 

Painting  in  France. 

Desgoffe,  Alexandre.  (Fr.)  Born  at  Paris,  1805.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Ingres.  Made  his  debut  at  the  Salon 
of  1834.  From  1847  to  '52  he  was  in  Italy.  At  the  Luxembourg  is 
his  "Madness  of  Orestes"  (1857).  His  pictures  are  mostly  land- 
scapes, and  many  of  them  represent  the  scenery  of  Italy.  He  has 
also  painted  some  religious  subjects,  such  as  "  Saint  Margaret/'  for 
the  church  of  St.  Peter  at  Dijon  ;  and  "Jesus  healing  the  Blind," 
church  of  Saint  Nicolas  du  Chardonnet.  The  city  of  Paris  com- 
missioned him  to  decorate  the  baptismal  chapel  of  the  last-named 
church,  and  that  of  the  church  of  Saint  Pierre  du  Gros-Caillou,  also 
several  works  for  the  Gallery  of  Landscapes  of  the  Hotel  de  Ville,  and 
for  the  vestibule  of  the  Library  of  Saint  Genevieve.  Among  his 
other  pictures  are,  "  The  Forest  of  Fleury,"  "  The  Environs  of  Na- 
ples," "  The  Eoman  Campagna,"  etc.    [Died,  1882.] 

Desnoyers,  Auguste-Gaspard-Louis-Boucher.  {Ft.)  Born  at 
Paris  (1779-1857).  This  eminent  engraver  was  elected  a  member 
of  the  Institute  in  1816  ;  was  appointed  First  Engraver  to  the  King 
in  1825  ;  was  made  a  Baron  in  1828,  and  Chevalier  of  the  Legion  of 
Honor  in  1835.  His  plates  are  very  numerous.  Many  of  them  were 
after  the  works  of  Raphael,  Da  Vinci,  and  other  Italian  masters. 

Desprez,  Louis.  (Fr.)  Born  at  Paris  (1799  -  about  1870).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Bosio.  He  obtained  the 
grand  prize  in  1826.  Among  the  works  which  he  sent  to  Paris,  while 
still  a  student  at  Rome,  are  the  elegant  bas-relief  on  the  monument 
raised  to  Poussin,  which  represents  the  Shepherds  of  Arcadia,  and  the 
statue  of  "  Innocence,"  which  was  purchased  by  Louis  Philippe,  and 
destroyed  in  1848.  In  1834  he  executed  a  statue  of  "Force,"  and 
one  of  General  Foy  in  1837  (for  the  Chamber  of  Deputies)  ;  in 
1837,  also,  a  colossal  "  Saint  Matthew,"  for  the  church  of  the  Made- 
leine ;  in  1845,  "  Diana  at  the  Bath,"  cast  in  bronze,  for  the  Champs 
I^lysees,  and  other  works  of  the  same  sort,  too  many  to  name  here. 
Desprez  has  rarely  exhibited  at  the  Salons.  He  has  made  many  por- 
trait busts,  among  them  those  of  Puget,  Brascassat,  etc.  Some  of  his 
works  are  at  Versailles  and  others  at  the  Louvre.  At  the  Paris  Salon 
of  1872  he  exhibited  a  statue,  in  marble,  of  "  Enticement "  ;  in  1870, 
a  bust,  in  marble,  of  the  painter  Brascassat,  for  the  city  of  Bordeaux. 

Detaille,  Jean-Baptiste-Edouard.  (Fr.)  Born  at  Paris,  1848. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Meissonier.  At  the 
Salon  of  1868  Detaille  exhibited  the  "  Halt  of  Infantry,"  which  was 
much  praised  ;  Edmond  About  called  it  "  a  jewel "  in  an  article  in 
the  "Revue  des  Deux  Mondes";  in  1869,  the  "Repose  during  the 
Drill,  Camp  St.  Maur  "  won  him  a  decided  reputation,  and  he  inime- 
9* 


202     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


diately  received  more  orders  than  he  could  execute,  and  found  a  ready- 
sale  for  every  sketch  which  he  chose  to  offer.  In  1870  he  sent  to  the 
Salon  "  An  Engagement  between  the  Cossacks  and  the  Guards  of 
Honor,  1814,"  which  was  not  as  much  admired  as  the  "  Souvenir 
of  Camp  St.  Maur"  had  been.  During  the  Franco-German  war 
Detaille  was  a  secretary  to  General  Appert,  and  did  good  service  in 
making  plans  of  the  environs  of  Paris,  of  the  positions  of  the  enemy, 
and  other  topographical  work  ;  at  the  same  time  he  did  not  forget  his 
sketching.  In  1872  he  had  a  picture  which  it  would  have  been  better 
not  to  exhibit  at  the  Salon,  but  which  won  him  a  medal ;  it  was 
called  "  The  Conquerors,"  and  represented  some  four-wheeled  carts, 
drawn  by  lean  horses,  piled  up  with  furniture  of  all  sorts,  pictures, 
clocks,  etc.,  which  had  been  taken  from  houses  near  Paris  ;  these  vehi- 
cles were  attended  by  soldiers  and  German- J ews,  one  of  whom  is  car- 
rying a  picture  and  explaining  its  value  to  a  soldier.  This  work  is 
well  known  by  photographs.  It  is  a  winter  scene,  and  the  ground  is 
covered  with  snow,  while  in  the  distance  are  seen  the  towers  of  Notre- 
Dame  and  Saint- Sulpice,  and  the  dome  of  the  Invalides.  In  1873 
Detaille  exhibited  "  The  Retreat,"  and  received  his  decoration ;  in 
1874,  "  The  Charge  of  the  Ninth  Regiment  of  Cuirassiers  in  the  Vil- 
lage of  Morsbronn,  August  6,  1870,  Day  of  Reich shoffen  "  ;  in  1875, 
"  The  Passing  Regiment,  Paris,  December,  1874"  (afterwards  exhibited 
in  Brussels,  and  purchased  for  the  Corcoran  Gallery  at  Washington)  ; 
in  1876,  "A  Reconnoiter"  ;  in  1877,  "Salute  to  the  Wounded,"  a 
famous  work  (belonging  to*  Mr.  Hawk  of  New  York),  a  water- 
color  called  the  "  Souvenir  of  the  Camp  of  Villeneuve-l'Etang  "  (be- 
longing to  M.  Wilson),  and  "  A  Hussar,"  also  in  water-color.  "  French 
Cuirassiers  bringing  in  Bavarian  Prisoners  "  (water- colors)  is  at  the 
Corcoran  Gallery.  At  the  Salon  of  1878  he  exhibited  "  Bonaparte  in 
Egypt."  "  French  Cavalry- Man  V  belongs  to  Jeremiah  Milbank  of 
New  York. 

"  But  Edouard  Detaille,  a  pupil  of  Meissonier,  seems  to  be  the  coming  military  artist 
of  France.  '  Le  Regiment  qui  passe '  is  quite  a  remarkable  production  ;  while  the 
painting  for  the  Salon  of  1876,  '  En  Reconnaissance,'  merits  all  the  attention  it  has  re- 
ceived. Artistic  composition,  correct  color,  and  nervous  treatment  are  combined  with 
thorough  perception  of  the  war  spirit  and  knowledge  of  military  details."  —  S.  G.  W. 
Benjamin,  Contemporary  Art  in  Europe. 

"  This  work,  '  En  Retraite,'  exhibited  five  years  after  the  first  picture  of  M.  Detaille 
appeared  at  the  Salon,  makes  all  the  praises  which  have  been  given  to  this  young  artist 
appear  reasonable.  The  hopes  which  his  first  pictures  excited  have  been  fully  realized. 
He  has  been  able  to  resist  the  temptations  which  success  engenders  ;  he  has  continued 
to  work  after  nature,  to  study  the  rules  of  composition,  and  to  strengthen  himself  in 

drawing  Detaille  has  not  yet  said  his  last  word,  moreover ;  he  is  so  young,  he  is 

so  studious,  that  one  is  warranted  to  hope  that  his  talent,  which  revealed  itself  so  early, 
which  affirmed  itself  at  the  age  when  one  ordinarily  is  still  in  the  atelier,  will  develop 
itself  in  the  way  which  will  be  best  for  him  and  will  not  delay  its  action."  —  Georges 
Duplessis,  Gazette  des  Beaux-Arts,  May,  1874. 

"Detaille  is  the  Desgoffe  of  military  painting.  He  recalls  to  us  that  famous  general 
of  a  former  time  who  said,  on  the  evening  of  a  campaign,  '  We  are  ready,  quite  ready ; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  203 


we  miss  not  a  gaiter  button.'  The  soldiers  of  Detaille  are  of  this  sort.  Their  equipment 
is  complete,  the  cuirasses  are  well  polished,  and  the  horses  conscientiously  curried. 
Not  a  grain  of  dust  1  The  hairs  are  laid  according  to  rule,  and  the  packages  all  in  order. 
The  sergeant  of  the  week  finds  nothing  to  criticise  in  this  correct  arrangement.  The 
mud  itself  takes  meritorious  care  to  speckle  regularly  the  legs  of  the  boots  and  the  bot- 
toms of  the  pantaloons,  which  are  fringed  in  the  march  with  the  greatest  regularity. 
Not  a  gaiter  button  is  missing,  but  the  soldier  is  wanting  in  character,  in  movement, 
and  in  life.  Although  they  seem  to  come  from  the  oven  of  the  enameler,  the  pretty 
soldiers  of  Detaille  have  never  seen  the  fire."  —  Henry  Houssaye,  Revue  des  Deux  Mondes, 
June,  1877. 

Deventer,  J.  F.  van.  (Dutch.)  Of  The  Hague.  Medal  at  Phila- 
delphia, where  he  exhibited  a  "  Holland  Landscape/'  which  was  spe- 
cially commended  by  Mr.  Weir  in  his  report. 

Deveria,  Eugene-Francois-Marie-Joseph.  (Fr.)  Born  at  Paris 
(1805  - 1865).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Girodet. 
He  made  his  debut  at  the  Salon  of  1824.  Among  his  works  are, 
"  The  Birth  of  Henry  IV.,"  purchased  for  the  Luxembourg  ;  "  The 
Battle  of  Marseilles,"  at  Versailles  ;  "  The  Death  of  Jane  Seymour"  ; 
"  Halt  of  Spanish  Merchants "  ;  "  Reception  of  Columbus  by  Fer- 
dinand and  Isabella"  ;  etc.  Deveria  painted  many  portraits  ;  those  of 
Marshals  Brissac  and  Crevecceur  are  at  Versailles.  At  the  new  Louvre 
he  decorated  a  ceiling,  subject,  "  Puget  and  Louis  XV."  He  was  also 
charged  with  the  decoration  of  the  chapel  of  Sainte  Genevieve,  at 
the  church  of  Notre- Dame-de-Lorette. 

Devigne,  Pierre.  (Belgian.)  (1814-1877.)  Professor  at  the 
Academy,  and  at  the  Industrial  School  of  Ghent.  His  statue  of 
Jacob  van  Artevelde  erected  at  Ghent  made  him  a  name  in  all 
Belgium. 

Devigne,  Paul.  (Belgian.)  Born  at  Ghent.  Son  of  the  preced- 
ing. Medals  at  Paris  and  Brussels.  He  exhibited  at  the  Salon  of 
1877  two  portrait  busts,  one  in  marble,  the  other  in  plaster  ;  in  1876, 
"  Poverella,"  statue,  plaster,  and  a  bronze  bust  of  a  "  Maiden  of  Pom- 
peii ";  and  in  1875,  "  Domenica,"  a  statue,  plaster,  and  "  Volumnia,"  a 
bust  in  terra-cotta. 

Dewing,  T.  W.  (Am.)  Born  in  Boston.  Pupil  of  Lefebvre  and 
Boulanger  in  Paris,  where  he  worked  for  some  time.  To  the  first  ex- 
hibition of  the  Society  of  American  Artists,  in  1878,  he  sent  "  A  Musi- 
cian." At  present  his  studio  is  in  New  York.  Many  of  his  pictures, 
chiefly  figure-pieces,  are  owned  in  Boston. 

"  Mr.  T.  W.  Dewing's  '  The  South  Wind '  is  a  very  beautiful  allegorical  conception, 
and  is  intended  for  interior  decoration.  A  lovely  female  figure  floating  at  will  through 
the  air  stops  to  pluck  the  petals  from  the  yellow  blossom  of  the  mullein  and  scatter 
them  over  her  shoulder.  The  figure  is  beautifully  poised,  and  charms  by  its  superior 
grace  and  loveliness.  The  pose  is  easy  and  natural,  and  expresses  the  action  most  admi- 
rably. For  the  drapery  of  the  lower  part  of  the  figure,  the  artist  has  selected  a  delicate 
gray,  and  for  the  bust  a  white.  The  background  is  gold-leaf.  The  conception  is  origi- 
nal and  the  execution  very  fortunate.  The  poise  of  the  figure,  the  modeling  and  flesh- 
color,  the  drapery  undulating  in  natural  folds,  all  tell  of  a  careful  brush,  with  real  genius 
and  a  refined  imagination  to  direct  it."  —  Boston  Daily  Advertiser,  November  12,  1878. 


204     ARTISTS  OF  TEE  NINETEENTE  CENTURY. 


Dexter,  Henry.  {Am.)  Born  in  the  State  of  New  York.  He 
was  taken  to  Connecticut  at  an  early  age,  brought  up  on  a  farm,  re- 
ceived a  district-school  education,  and  spent  five  years  in  the  shop  of 
a  blacksmith.  During  this  period  the  artistic  taste  and  instincts 
were  gradually  developed,  and  he  painted  and  studied  in  secret  and 
without  a  master.  When  a  young  man  he  went  to  Boston,  modeling 
in  clay  for  some  time,  and  determined  to  become  a  sculptor.  His  first 
work  in  marble  was  a  bust  of  Mayor  Eliot  of  Boston,  for  which  he  is 
said  to  have  received  $  250.  This  was  followed  by  busts  of  other  dis- 
tinguished men,  Secretary  Chase,  Governor  Banks,  and  governors  of 
other  States  of  the  Union,  which  were  on  exhibition  in  Boston  in 
1860,  attracting  some  attention.  Among  his  ideal  works  may  be  men- 
tioned, "  The  Backwoodsman n  (in  the  Boston  Athenaeum),  "  The 
Young  Naturalist,"  "  The  First  Lesson,"  etc. 

Diaz  de  la  Fena,  Narcisse  -  Virgile.  (Fr.)  Born  at  Bordeaux 
(1807  -  1876).  Chevalier  of  the  Legion  of  Honor.  The  parents  of 
this  painter  were  driven  out  of  Spain  on  account  of  political  troubles, 
and  at  ten  years  of  age  he  was  left  an  orphan,  in  a  land  where  he  had 
no  relatives.  He  was  sheltered  by  a  Protestant  clergyman  who  lived 
at  Bellevue,  for  his  mother  had  gone  to  Paris,  where  she  had  given 
lessons  in  Italian  and  Spanish.  Not  long  after  his  mother's  death  he 
was  bitten  on  the  leg  by  an  insect ;  at  first  nothing  was  thought  of  it, 
but  at  last  so  bad  a  sore  was  made  that  he  was  taken  to  a  hospital 
where  his  leg  was  amputated.  When  fifteen  he  was  apprenticed  as  a 
shop-boy  to  a  manufacturer  of  porcelain  ;  after  a  time  he  made  at- 
tempts at  imitating  what  he  saw  around  him,  and  his  master,  noticing 
his  efforts,  promoted  him  to  his  atelier  ;  here  he  made  the  acquaintance  , 
of  Dupre,  Cabat,  and  Raffet.  Soon  he  felt  the  slavery  of  his  position 
insupportable,  and  dreamed  longingly  of  a  time  when  he  could  follow 
his  bent,  and  paint  as  he  wished.  He  quarreled  with  his  master,  and 
left  him.  Then  began  a  life  of  absolute  poverty,  but,  gathering  a  chance 
existence,  he  worked  away,  and  at  length  carried  to  Desforges,  a  picture- 
seller,  "  The  Descent  of  the  Gypsies."  It  remained  so  long  without  a 
purchaser  that  Desforges  (to  whom  Diaz  was  in  debt  for  his  materials  to 
paint  the  picture)  ordered  him  to  take  it  away.  Just  when  all  seemed 
lost,  M.  Paul  Perrier  saw  the  picture,  and  gave  Diaz  1,500  francs  in  place 
of  the  500  which  he  had  asked  for  it.  This  picture  has  always  been  con- 
sidered a  chef-d'oeuvre,  and  is  now  owned  by  Mine.  Ernest  Andre.  For 
some  time  after  this  Diaz  essayed  genre  subjects,  but  with  no  great  suc- 
cess ;  his  pictures  were  received  at  the  Salons,  but  with  indifference, 
and  it  was  not  until  he  made  landscape  his  chief  motive  that  the  public 
found  out  his  merits.  He  received  his  first  medal  in  1844,  thirteen 
years  after  his  debut  at  the  Salon.  Diaz  was  not  correct  in  drawing,  and 
has  been  severely  criticised  on  this  account.  He,  on  his  part,  boldly 
ridiculed  the  realists,  and  those  who  insisted  on  form.  If  Diaz  painted 
flowers,  it  might  be  impossible  to  say  to  what  botanical  family  they 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  205 


belonged,  but  the  tone  of  color  and  the  charm  he  gave  them  seemed 
an  excuse  for  their  existing  just  as  he  made  them.  Towards  the  end 
of  his  life  he  painted  and  sold  too  many  pictures  ;  he  seemed  wild  to 
be  always  selling  ;  for  this  he  has  been  excused  by  his  friends,  who  say 
that  in  this  way  he  avenged  himself  for  the  poverty  he  had  formerly 
suffered.  In  1851  he  exhibited  "  A  Bather  "  and  "  Love  Disarmed"  ; 
again  in  1855  he  exhibited  several  works,  among  which  was  one  called 
"  The  Last  Tears,"  which  was  much  criticised  for  its  color  ;  after  this 
he  went  to  the  Orient  and  next  sent  to  the  Salon  of  1859,  "Galatea," 
"  The  Education  of  Love,"  "  Venus  and  Adonis,"  "  Love  Punished," 
etc.  At  the  Johnston  sale  "  The  Forest  of  Fontainebleau  "  (23  by  29) 
sold  for  $2,650,  —  same  subject  (26  by  35),  at  the  Latham  sale,  New 
York,  1878,  for  $3,200.  At  the  Strousberg  sale,  Paris,  1874,  "A 
Storm  "  sold  for  £  360  ;  "  A  Holy  Family,"  £  388 ;  "Abandoned,"  £208. 
At  the  Laurent-Richard  sale,  Paris,  1873,  "  In  the  Forest  of  Fontaine- 
bleau," £  1,028.  At  the  Oppenheim  sale,  Paris,  1877,  "  A  Road  in 
the  Forest "  sold  for  14,300  francs.  Diaz  painted  but  few  figure  pictures, 
and  they  are  therefore  much  prized.  Mr.  Walters  of  Baltimore  has  a 
"  Venus  and  Cupid."  In  1845  he  sent  to  the  Salon  three  portraits, 
and  in  1848,  with  other  works,  "  A  Pack  of  Hounds  in  the  Forest  of 
Fontainebleau."  At  the  exhibition  of  the  Wilson  Gallery  in  Brussels 
in  1873  there  was  seen  a  fine  figure  picture  by  Diaz,  called  "  The 
Smyrniotes,"  being  a  young  woman  and  two  children,  walking  in  a 
garden  ;  it  was  painted  in  1871.  "The  Bathers"  and  "The  Dogs" 
are  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston. 

" .  .  .  .  The  versatile,  unequal,  impetuous  Diaz,  a  brilliant  colorist  by  "blood,  so 
much  so  as  to  obscure  design,  but  charming  in  his  genre  landscape  motives,  in  which  he 
introduces  little  children,  lovely  women,  or  classical  nymphs,  amorini,  or  whatever  best 
affords  him  scope  for  his  rich  flesh-tints,  in  contrast  with  magnificently  colored  draper- 
ies on  the  deep  greens  and  browns  of  vegetation.  His  fancy  is  peculiarly  delicate  and 
playful,  not  serious,  which  is  a  defect,  because  the  want  of  earnestness  of  purpose  seems 
to  have  prevented  him  from  realizing  complete  returns  of  his  uncommon  promise."  — 
Jakves,  Art  Thoughts. 

"  Diaz  was  neither  a  great  man  nor  a  great  painter ;  he  was  a  great  artist.  Let  us 
discard  the  word  genius  ;  it  would  be  malevolent  to  pronounce  it,  since  it  cannot  apply 
here.  Diaz  has  only  loved  Nature  ;  he  identified  himself  with  her ;  he  adored  her  too 
much  not  to  make  her  true,  and  therefore  beautiful.  He  appeared  at  an  epoch  when 
some  radiant  stars  shone  in  the  artistic  sky  ;  their  radiance  diminished  not  his  bright- 
ness. He  knew  how  to  make  himself  a  place  apart,  and  that  place  he  will  keep  with 
posterity.  He  has  attached  his  name  to  one  aspect  of  nature.  When  October  comes, 
go  to  the  heights  of  the  Valley  of  the  Salle,  or  in  the  thickets  of  Bas-Breau,  wander 
in  the  midst  of  this  superb  and  lusty  vegetation,  under  the  trees,  species  of  immense 
bouquets  glittering  with  a  thousand  colors,  where  play  all  shades,  the  dark  green,  the 
brown,  the  golden  yellow,  the  bright  scarlet ;  and,  seeing  this  magnificent  twinkling  of 
autumn  tints,  you  will  surprise  yourself  in  saying,  '  Behold  a  Diaz  ! ' "  —  Roger.  Ballu, 
Gazette  des  Beaux- Arts,  March,  1877. 

Dicksee,  Thomas  F.  (Brit.)  Born  in  London,  1819.  Displayed 
a  taste  for  art  at  an  early  age,  painting  satisfactory  portraits  of  his 
family  and  friends  as  a  youth.    In  1838  he  entered  the  studio  of 


206     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


H.  P.  Briggs,  Koyal  Academy,  and  soon  settled  in  London,  as  a  por- 
trait-painter. He  has,  however,  executed  many  ideal  figures  drawn 
from  the  works  of  Shakspere  and  kindred  sources.  Among  these 
may  be  mentioned,  "Anne  Page"  (in  the  British  Institute,  1862), 
"Ophelia,"  "  Juliet,"  "  Cleopatra,"  "Joan  of  Arc,"  "  Little  Red  Riding- 
Hood,"  "  Young  Pretender,"  "  Joy,"  "  Little  Florist,"  and  "  Dressed 
for  the  Ball."  In  1875  he  sent  to  the  Royal  Academy,  "Othello 
and  Desdemona"  ;  in  1877,  "  Cordelia"  ;  in  1878,  "  Madeline." 

Dicksee,  Frank,  his  son,  medalist  in  1875  of  the  Royal  Academy 
Training-School,  is  a  young  artist  of  promise.  He  sent  to  the  Royal 
Academy,  in  1876,  "  Elijah  confronting  Ahab  "  and  "  Jezebel  in  Na- 
both's  Vineyard  "  ;  in  1877,  "  Harmony."    [A.  R.  A.,  1881.] 

Diday,  Francois.  (Swiss.)  Born  at  Geneva,  1812.  Chevalier  of 
the  Legion  of  Honor.  He  studied  in  Paris  and  traveled  in  Italy. 
His  pictures  are  chiefly  views  in  his  native  country.  His  "  Glacier 
of  Rosenthal "  is  at  the  Museum  of  Lausanne  ;  "  The  Oak  and  the 
Reed  "  is  at  the  Museum  of  Geneva. 

Die~bolt,  Georges.  (FrJ  Born  at  Dijon  (1816 -1862).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Ramey  and  Dumont.  He  took 
the  grand  prix  de  Rome  in  sculpture  in  1841.  Before  this  time  he 
had  executed  some  creditable  works.  "  Sappho  on  the  Rock  of  Leu- 
cate  "  was  the  first  work  which  he  sent  to  the  Salon  of  1848,  and  it 
was  purchased  for  the  Museum  of  Dijon.  His  "  Meditation  "  (1852) 
was  purchased  for  the  Museum  of  Carcassonne.  Diebolt  executed  a 
figure  of  D'Alembert  for  the  Hotel  de  Ville  at  Paris  ;  the  bronze  bas- 
reliefs  for  the  equestrian  statue  of  Napoleon  by  De  Nieuwerkerke  ; 
the  decoration  of  the  Pavilion  de  Rohan  at  the  new  Louvre  ;  the  four 
ovals  of  the  Pavilion  Turgot ;  the  two  Renommees  of  the  facade  of 
the  Palace  of  the  Champs  ^lysees  ;  "  A  Zouave  in  Campaign  Dress  " 
and  "  A  Grenadier  of  the  Line  "  at  the  bridge  of  Alma  ;  and  the  figure 
of  "  Navigation  "  at  the  bridge  of  the  Invalides.  At  the  time  of  his 
death  he  was  about  completing  a  group,  "  Hero  and  Leander,"  which 
was  exhibited  at  the  Salon  of  1863.  The  colossal  figure  of  "France 
the  Remunerator,"  placed  at  the  Rond  Point  of  the  Champs  ^lysees, 
on  the  occasion  of  the  distribution  of  prizes  gained  at  the  Exposition 
at  London  in  1851,  is  considered  the  chef-d'oeuvre  of  this  sculptor. 
His  portrait  busts  are  excellent,  but  not  as  numerous  as  might  be 
wished. 

Dieffenbach,  Anton  Heinrich.  (Ger.)  Born  at  "Wiesbaden, 
1831.  Medal  at  Wiesbaden.  Studied  sculpture  under  Pradier  at 
Paris.  At  Dtisseldorf,  in  1855,  devoted  himself  to  painting,  and 
studied  under  R.  Jordan.  Has  spent  much  time  in  Paris  and  Switz- 
erland, and  finally  settled  in  Berlin.  He  draws  his  subjects  from 
peasant  life,  and  many  of  his  works  have  gained  much  popularity 
through  reproductions  by  lithographs,  etc.  In  the  National  Gallery 
at  Berlin  is  one  called  "  Tit-Bit,"  or  a  peasant- woman  kneading  dough. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  207 


In  1869  lie  exhibited  at  the  Paris  Salon,  "  Les  freres  de  lait" 
("Foster  Brothers")  and  "  Une  partie  de  Schlitte,  Alsace"  ;  in  1868, 
"The  Recreation"  :  in  1867,  "An  Unfortunate  Meeting"  and  "  The 
Betrothal "  ;  etc. 

Dielman,  Frederick.,  1ST.  A.  (Am.)  Born  in  Hanover,  Germany, 
1848,  and  taken  early  in  his  childhood  to  Baltimore.  He  spent  six 
years  as  a  topographer  in  the  United  States  Engineer  Department  in 
Virginia.  His  art  education  was  received  in  the  various  schools  of 
the  Royal  Academy,  Munich,  more  particularly  under  Diez,  gaining  a 
medal  in  the  life  class.  His  studio  at  present  (1884)  is  in  New  York. 
He  was  one  of  the  original  members  of  the  Society  of  American 
Artists.  His  works  so  far  are  chiefly  studies,  his  most  important 
picture  being  "The  Patrician  Lady"  (N.  A.,  1877),  belonging  to  I.  T. 
Williams  of  the  National  Chemical  Bank.    [N.  A.,  1883.] 

"  Mr.  Dielman's  little  picture,  called  '  Patrician  Lady,  — Sixteenth  Century '  (10  by  16 
inches  in  dimension),  is  his  only  contribution  to  the  Exhibition,  and  it  argues  well  for 
somebody's  taste  that  It  is  already  sold.  It  is  a  single  figure,  full-length,  painted  with 
all  the  minuteness  of  detail  and  technical  skill  which  are  now  so  attractive,  but  not 
painted  for  them  alone.  On  the  contrary,  they  fall  into  the  proper  subordination  as 
soon  as  we  look  upon  the  calm,  proud  loveliness  of  the  woman's  face.  The  latter  is  the 
light  and  glory  of  the  picture.  The  artist,  moreover,  shows  a  rare  reticence  in  the  exer- 
cise of  his  technical  skill.  A  single  feather  of  the  peacock-fan,  painted  with  exquisite 
delicacy,  is  touched  by  the  light ;  the  others  gradually  lose  themselves  in  the  shadow. 
In  this,  and  other  slight  characteristics,  the  true  artist  is  revealed,  —  the  master,  not  the 
slave,  of  form,  color,  and  textural  effect."  —  Bayard  Taylor,  in  New  York  Tribune, 
April  7,  1877. 

Dien,  Claude-Marie-Francois.  (Fr.)  Born  at  Paris  (1789- 
1865).  Chevalier  of  the  Legion  of  Honor.  In  1809  he  took  the 
first  prize  in  copperplate  engraving,  and  went  to  Rome.  His  works 
are  largely  after  the  French  masters.  Among  them  are  plates  of 
"  Saint  Cecilia,"  after  J.  Romain  (purchased  by  the  Societe  des  Amis 
des  Arts)  ;  "  Tasso,"  after  Robert  Fleury  (acquired  by  the  same 
society)  ;  "  Saint  Scholastica  appearing  to  Saint  Benoit,"  after  Le- 
sueur,  commanded  by  Napoleon  III. ;  "  Portrait  of  Count  Nieuwer- 
kerke,"  after  Ingres  ;  "  The  Sibyls,"  after  Raphael ;  etc. 

Dietz,  Feodor.  (Ger.)  Born  at  Neustetten  (1813  - 1870).  Mem- 
ber of  Munich  Academy.  Professor  at  Carlsruhe.  Court  painter  at 
Baden.  Historical  painter.  Studied  in  Carlsruhe  ;  went  to  Munich 
in  1831,  where  he  worked  in  the  Konigsbau,  then  to  Paris,  where  he 
studied  under  Alaux.  He  took  an  active  part  in  the  campaign  of 
1848  in  Schleswig.  During  the  wars  of  1866  and  '70  he  was  very 
efficient  in  the  Sanitary  Aid  Corps,  and  died  while  on  his  way  home 
from  France.  Dr.  Max  Jordan  says,  "In  his  inclination  toward  the 
extremely  pathetic  he  often  reaches  the  theatrical.  His  color  lacks 
the  charm  it  should  have,  but  his  compositions  are  always  clear,  and 
the  representations  fresh  and  vivid."  At  the  National  Gallery  at 
Berlin  is  his  "  Blucher's  March  on  Paris."   Among  his  works  are, 


208     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Flight  of  an  American  Family  across  the  Susquehanna,"  "  Bliicher's 
Passage  over  the  Rhine  at  Caub,"  "  Bliicher  after  the  Battle  of  La 
Rothiere,  on  his  March  to  Paris,"  and  "  The  Crown  Prince  Louis  of 
Bavaria  at  the  Battle  of  Arcis,"  etc. 

Diez,  Wilhelm.  (Ger.)  Professor  at  Munich  Academy.  Diez  has 
established  a  new  school  in  Munich,  and  his  followers  are  very  enthusi- 
astic in  their  devotion  to  him,  and  as  yet  it  is  scarcely  possible  to  say 
much  of  the  results  of  his  teaching.  He  owes  his  professorship  to  the 
friendship  and  influence  of  Piloty,  who  early  discovered  his  rare  talent. 

The  principal  characteristics  of  the  pictures  of  Diez  are  fine  draw- 
ing and  good  color.  He  is  a  fine  instructor,  having  the  power  of  im- 
parting his  knowledge.  At  Berlin,  in  1876,  he  exhibited  "  Robbers  of 
the  Fifteenth  Century."  At  the  Paris  Salon  of  1878  he  exhibited  "A 
Chevalier  of  the  Middle  Ages  "  and  "  His  Excellence  en  voyage." 

Dillens,  Henri.  (Belgian.)  Born  at  Ghent,  1812.  Pupil  of  Canini. 
This  artist  has  exhibited  numerous  works  in  the  Belgian  Expositions. 
Among  them  are,  "  Charles  V.  and  the  Swineherd  "  and  '.**  Charles  V. 
at  Antwerp  "  (considered  his  best  works),  "  Russian  Baptism,"  "  In- 
terior of  a  Cabaret,"  "  Laura  and  Petrarch,"  "  A  Carnival  Scene,"  etc. 

Dillens,  Adolphe.  (Belgian.)  Born  at  Ghent  (1821  -1877). 
Chevalier  of  the  Order  of  Leopold.  Member  of  the  Royal  Academy 
at  Amsterdam.  Brother  and  pupil  of  the  preceding,  His  pictures  of 
"  The  Five  Senses  "  and  "  Sunday  in  Flanders  "  took  the  medaille  de 
vermeil  at  Brussels  in  1848.  In  1850  he  exhibited  at  Bruges  a  picture 
of  "  Peruzzi  forced  to  paint  a  Portrait  of  the  Constable  de  Bourbon, 
who  had  been  slain  in  the  Attack  on  Rome,  1527."  This  took  a 
medal  also,  and  is  now  in  the  Gallery  of  Bruges.  He  next  painted 
several  pictures  of  the  life  in  that  part  of  Flanders  called  Zealand. 
He  became  known  there  as  "  the  painter  from  Brussels,"  and  though 
at  first  treated  cavalierly,  he  at  last  became  the  friend  of  the  people. 
At  Brussels  in  1854  he  exhibited  "  Courtship  in  Zealand,"  "  Taking 
Toll,"  and  a  "  Fair  at  West  Kapelle,"  which  took  a  gold  medal,  and 
was  purchased  by  the  King  of  Belgium.  Another  representation  of 
"  Taking  Toll "  was  purchased  by  Napoleon  III.  A  third  representa- 
tion of  the  same  subject  was  bought  by  the  Emperor  of  Brazil.  Among 
his  other  works  are,  "  The  Gossip  at  the  Window,"  "  Skating  in  the 
Ring,"  "  A  Zealand  Wedding,"  etc. 

Dillon,  Frank.  (Brit.)  Born  in  London,  1823.  He  studied  art  in 
the  Royal  Academy,  and  under  James  Holland,  spending  his  profes- 
sional life  in  London,  with  the  exception  of  a  protracted  visit  to  the 
East.  He  has  exhibited  frequently  for  some  years  at  the  Society  ol 
British  Artists  and  the  Royal  Academy,  among  the  better  known  of  his 
works  being,  "  Evening  on  the  Tagus,"  "  The  Colossal  Pair,  Thebes," 
"The  Pyramids  at  Sunrise,"  "Emigrants  on  the  Nile,"  "The  Nile 
near  the  First  Cataract,"  "The  Sands  of  Egypt,"  "A  Japanese  Interior," 
etc.   He  painted  four  Egyptian  pictures  for  the  Khedive  of  Egypt 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  209 


His  "  Courtyard  of  the  House  of  the  Sheikh  Said  at  Cairo  "  was  at 
the  Paris  Exposition  of  1878.  In  1877  he  exhibited  in  London  a 
series  of  drawings  in  water-color,  illustrating  the  customs,  manners, 
and  scenery  of  Japan. 

"  Among  the  artists  who  profess  Oriental  scenery,  there  are  none  who  distinguish 
themselves  more  than  Mr.  F.  Dillon.  '  The  Tombs  of  the  Memlook  Sultans  of  Egypt' 
[R.  A.,  1873]  has  been  repeatedly  painted,  but  never  with  better  effect  than  here."-^ 
Art  Journal,  June,  1873. 

Dix,  Charles  Temple.  (Am.)  Born,  1840.  Died  in  Rome, 
Italy,  1873.  He  graduated  at  Union  College  in  1858,  and  turned  his 
attention  to  art  at  an  early  age.  He  had  made  marked  progress  in 
his  studies,  but  entered  the  army  at  the  outbreak  of  the  Civil  War, 
serving  with  distinction  on  the  staff  of  his  father,  J ohn  A.  Dix,  and 
as  an  officer  of  the  regular  troops.  He  adopted  art  as  his  profession 
on  the  return  of  peace,  settling  in  Rome.  He  was  looked  upon  as  an 
artist  of  much  promise.  Among  the  better  known  of  his  works  was 
his  "  Sunset  at  Capri."  He  rarely  exhibited  in  public.  At  the  Na- 
tional Academy  in  1871  he  had  a  "  Coast  Scene,"  and  at  the  Royal 
Academy,  London,  a  few  years  previous,  a  view  of  "  Sark  Channel 
Islands,"  the  subject  of  high  praise  in  the  London  journals. 

Dobson,  William  C.  T.,  R.  A.  (Brit.)  Born  at  Hamburg,  1817. 
Taken  by  his  parents  to  London  when  about  ten  years  of  age. 
Studied  from  the  antique  in  the  British  Museum,  and  entered  the 
schools  of  the  Royal  Academy  in  1836.  Was  a  pupil  and  friend  of 
Eastlake,  and  Head  Master  of  the  Schools  of  Design  at  Birmingham 
from  1843  to  '45,  when  he  went  to  the  Continent  for  the  purpose  of 
study,  remaining  in  Italy  and  Germany  for  some  years.  His  pictures 
are  generally  of  scriptural  subjects,  and  many  of  them  have  been  en- 
graved. He  exhibited  at  the  Royal  Academy,  in  1853,  "  Tobias  and 
the  Angel"  ;  in  1855,  "The  Charity  of  Dorcas"  (purchased  by  the 
Queen)  ;  in  1860,  "  Train  up  a  Child  in  the  Way  he  should  go  "  ;  in 
1866,  "The  Child  Jesus  in  the  Temple";  in  1869,  "A  Picture- 
Book"  ;  in  1870,  "  Nunc  dimittis"  ;  in  1872,  "A  Crown  to  her  Hus- 
band "  ;  in  1873,  "  Paul  at  Philippi  "  (deposited  in  the  Academy  on 
his  election  as  an  Academician)  ;  in  1874,  "  Father's  Welcome 
Home  "  ;  in  1875,  "  Children's  Children  are  the  Crown  of  Old  Men  "  ; 
in  1876,  "Rebecca";  in  1877,  "  Waiting  "  ;  in  1878,  "Mother  and 
Child  "  and  "  At  the  Masquerade."  He  is  a  member  of  the  Society 
of  Painters  in  Water-Colors,  contributing  several  works  in  that  me- 
dium to  the  Paris  Exposition  of  1878. 

"  Mr.  Dobson  seems  to  have  shown  some  advance  this  year  [1864]  towards  a  larger 
style.  While  prettiness  holds,  as  it  always  will  hold,  its  place  in  art,  we  can  hardly  ask 
for  prettier  faces  and  attitudes  than  his  two  fair  damsels  with  their  flowers  and  their 
books  ['  Girls  with  Ferns '  and  '  Morning,'  R.  A.,  1864].  The  former  is  almost  as  bright 
as  the  child  with  the  story-book,  which  did  Mr.  Dobson  credit  in  the  International  Ex- 
hibition. "  —  Palgrave's  Essays  on  Art. 

"The  'Camelia,'  by  W.  C.  T.  Dobson  [Water-Color  Exhibition,  1873],  has  very  much 
of  the  round  German  character,  but  it  is  a  really  charming  head,  luminous  in  color, 

N 


210     ARTISTS  OF  THE  NINETEENTH  CENTURY. 

'V 

and  hiost  agreeable  in  expression.  'Sappho,'  by  the  same  hand,  is  also  a  fascinating 
study,  brilliant  and  gracefuL »'  —  Art  Journal,  June,  1873. 

Docharty,  James.  (Brit.)  Born  in  Glasgow  (1829  -  1878).  He 
began  life  as  a  designer  of  patterns  in  his  native  city,  studying  that 
profession  for  some  time  in  France.  About  1862  he  turned  his  atten- 
tion to  landscapes,  painting  with  marked  success.  His  studio  was  in 
Glasgow,  and  he  exhibited  frequently  at  the  Royal  Academy  and  the 
Royal  Scottish  Academy.  He  visited  Egypt  shortly  before  his  death. 
He  was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1877. 
Among  his  works  are,  "  A  Good  Fishing-Day,"  "  Loch  Lomond,"  "  A 
Moorland  Scene,"  "  Old  Bridge  on  the  Moor,"  "  The  Trosachs,"  and 
"A  Mountain  Shower  "  (the  last  three  at  the  Royal  Scottish  Acad- 
emy) in  1878. 

'"The  Fishing  Village'  and  '  The  Cuchullin  Hills '  [1874]  leave  nothing  to  desire  ;  for 
James  Docharty  lays  his  hand,  not  metaphorically,  like  Byron,  but  materially,  upon 
Nature's  elements,  and  shows  us  many  secrets  of  her  witchery."  —  Art  Journal  March 
1874. 

Dolph,  J.  H.,  A.  N.  A.  (Am.)  Born  at  Fort  Ann,  N.  Y.,  1835. 
His  professional  life  has  been  passed  in  New  York  City,  with  the  ex- 
ception of  a  few  years  spent  abroad.  He  studied  under  Louis  Van 
Kuyck  at  Antwerp.  He  was  made  an  Associate  of  the  National  Academy 
in  1877,  and  a  member  of  the  Society  of  American  Artists  at  its  organ- 
ization, in  1878,  contributing  to  its  first  exhibition  "  Morning  Toilet." 
His  works  have  been  regularly  exhibited  at  the  National  Academy 
for  some  seasons.  In  1869  he  sent  "  Knickerbocker  Farm- Yard  "  ;  in 
1870,  "The  Season  of  Plenty"  and  "The  Country  Blacksmith"; 
in  1873,  "The  Horse-Doctor"  ;  in  1874,  "The  Pasture"  ;  in  1875, 
"  A  Gray  Day  on  the  Coast  "  ;  in  1876,  "From  the  Horse-Market  "  ; 
in  1877,  "The  Antechamber"  ;  in  1878,  "  The  Rehearsal." 

His  "  Parson's  Visit "  is  in  the  collection  of  Rufus  Hatch ;  his 
"  Beggar  "  in  that  of  James  Gordon  Bennett.  "  The  Antiquarian  " 
belongs  to  Judge  Henry  Hilton. 

Domingo,  J.  (Span.)  Pupil  of  the  elder  Meissonier,  whose  style 
he  follows.  Fortuny  admired  the  works  of  this  painter,  and  gave  him 
encouragement  to  attempt  the  struggle  for  the  fame  which  he  now  has. 
At  the  Glasgow  Fine  Art  Loan  Exhibition  of  1878  was  exhibited  his 
"  Card- Players,"  belonging  to  J.  Napier.  "  Interior  of  an  inn,  —  two 
men  at  a  table  play  cards  while  they  smoke  and  drink.  To  the  left, 
a  waiter  stands  watching  the  game,  —  he  holds  a  white  jug.  In  the 
foreground  a  big  dun  dog  stands  across  the  picture."  One  of  his 
more  important  works  is  called  "  Halt ! "  It  is  about  24  by  18  inches 
in  size,  and  has  recently  (1878)  been  sold  to  the  Viscount  D'Opia  by  a 
Paris  picture-dealer  for  80,000  francs.  It  is  thus  described  in  the  Art 
Journal,  September,  1878:  "A  halt  of  cavaliers  before  a  red-tiled 
auberge,  within  the  roughly  curtained  entrance  of  which  some  boors 
are  seen  drinking  at  a  table.    Beyond  a  wall  which  partly  bounds  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  211 


picture  on  the  left,  is  seen  a  willow-shaded  river,  and  in  the  foreground 
a  pool  and  some  fowls.  The  manner  in  which  the  cavalier's  dog  eyes 
askance,  with  an  accompanying  snarl,  the  dog  belonging  to  the  peas- 
ant, is  almost  audibly  represented,  and  the  spirit  as  well  as  some  of  the 
details  are  suggestive  of  Wouvermans  and  Teniers  at  their  best,  only 
we  have  here  a  breadth  and  delicacy  unknown  to  these  great  artists." 
To  the  Centennial  Exhibition  he  sent  "  The  Antiquarian  "  and  "  The 
Return  from  Pasture,"  which  at  present  (1878)  is  in  the  collection  of 
the  Palette  Club,  New  York. 

Donald,  John  Milne.  (Brit.)  (1819-1866.)  Born  at  Nairn, 
Scotland.  He  began  the  study  of  art  at  an  early  age  in  Glasgow, 
going  to  Paris  in  1840  and  spending  some  time  in  the  galleries  there. 
He  painted  in  London  for  four  years,  two  of  his  pictures  being  pur- 
chased by  the  poet  Rogers.  The  balance  of  his  professional  life  was 
spent  in  Scotland.  He  exhibited  frequently  at  the  Royal  Scottish 
Academy,  and  was  very  successful  in  his  representation  of  Scot- 
tish Highland  scenery.  Three  of  his  works,  "  A  Highland  Stream," 
"Bowling  Bay,"  and  "Loch  Goil "  were  at  the  Glasgow  Fine  Art 
Loan  Exhibition  in  1878. 

Doo,  George  Thomas,  R.  A.  (Brit.)  Born,  1800.  Line-en- 
graver. His  "Duke  of  York,"  after  Sir  Thomas  Lawrence,  engraved 
in  1824,  was  his  first  important  work.  In  1825  he  went  to  Paris, 
studying  under  Suisse.  In  1836  he  was  appointed  Historical  En- 
graver to  William  IV.,  and  in  1842  received  a  similar  appointment 
from  Queen  Victoria.  In  1856  he  was  elected  Associate  Engraver  of 
the  Royal  Academy  and  Academician  the  following  year.  In  1861 
he  was  elected  President  of  the  Artists'  Annuity  Fund,  and  is  a 
member  and  honorary  member  of  many  foreign  societies.  Among 
the  better  known  of  his  plates  are,  "  The  Infant  Christ,"  after  Raphael ; 
"  Ecce  Homo,"  after  Correggio  ;  "  Knox  preaching  before  the  Lords  of 
the  Covenant,"  after  Wilkie ;  "The  Combat,"  after  Etty  ;  "The  Pil- 
grims in  Sight  of  the  Holy  City,"  after  Eastlake  ;  and  many  more.  He 
was  placed  upon  the  list  of  Honorary  Retired  Academicians  in  1867. 

Doolittle,  Edwin  Stafford.  (Am.)  Born  at  Albany,  N.  Y.,  1843. 
He  studied  painting  under  John  A.  Hows  in  1865,  and  under  William 
Hart  for  a  few  months  in  1866.  The  following  year  he  opened  his  first 
studio  in  New  York,  where  he  remained  but  a  short  time  before  going 
to  Europe  in  1868.  He  passed  some  time  in  Rome,  but  an  attack  of 
fever  and  loss  of  health  forced  him  to  return  to  America.  In  1869 
he  painted  his  "  Shadow  of  a  Great  Rock  in  a  Weary  Land,"  of  which 
he  has  made  several  copies.  In  the  summer  of  1872  he  studied  under 
Jasper  F.  Cropsey  at  Warwick,  N.  Y.  Doolittle  has  painted  land- 
scapes and  marine  subjects,  and  among  his  chief  works  are,  "  Sunset 
on  an  Adirondack  Swamp,"  "  Chimney  Rock,  North  Carolina," 
"  Gray's  Peak,  Colorado,"  "  A  Pool  in  the  Warwick  Woodlands," 
"  Ruins  of  the  Claudian  Aqueduct  on  the  Roman  Campagna,"  "  On 


212     ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


the  Giudecca  Canal,  Venice,"  "  The  Arch  of  Titus,"  "  Autumn  in  the 
Catskill  Clove,"  "  The  Axenstrasse,  Lake  Lucerne,"  "  The  Old  Toll- 
Gate,"  etc.  Failing  health  has  of  late  prevented  this  artist  from  the 
active  practice  of  his  profession.  The  last  picture  upon  which  he  has 
been  engaged  is  "  Sunset  on  Schroon  Lake." 

Mr.  Doolittle  has  also  executed  illuminations,  has  designed  book- 
covers,  and  has  been  somewhat  employed  in  the  decoration  of  churches. 
To  the  Centennial  Exhibition  at  Philadelphia  he  sent  illuminations 
of  "  The  Soliloquy  of  Friar  Pacificus "  from  Longfellow's  "  Golden 
Legend  "  (which  was  afterwards  presented  to  the  poet),  and  of  "  A 
Prayer  to  the  Virgin,"  now  in  the  Convent  of  the  Sacred  Heart  in 
Savannah,  Ga. 

The  designs  for  the  covers  of  "  Heaven  in  Song,"  "The  Shadow  of 
a  Great  Rock,"  etc.,  are  by  him.  He  has  also  written  "  Grace  Church 
Chimes  "  and  other  occasional  poems.    [Died?  1879.] 

Dorfe,  L.  C.  Paul  Gustave.  (Fr.)  Born  at  Strasbourg  (1833). 
Chevalier  of  the  Legion  of  Honor.  He  went  to  Paris  in  1845,  and 
finished  his  studies  at  the  Lycee  Charlemagne  ;  and  in  1848  was  em- 
ployed with  M.  Bertall  on  the  "  Journal  pour  rire."  In  1848  he  also 
sent  some  pen-drawings  to  the  Salon,  and  continued  to  exhibit  each 
year ;  in  1857  he  received  honorable  mention.  His  works  are  so 
numerous  that  it  is  quite  impossible  to  give  any  account  of  them 
here.  Besides  his  larger  works,  the  number  of  his  sketches  and  fan- 
tastic drawings  is  immense.  He  has  made  a  multitude  of  illustrations 
for  journals,  etc.  His  plates  for  the  works  of  Rabelais,  the  Legend  of 
the  Wandering  Jew,  "Les  Contes  drolatiques  "  of  Balzac,  the  Essays 
of  Montaigne,  the  Voyage  in  the  Pyrenees  by  Taine,  Don  Quixote, 
the  Bible,  the  Inferno  of  Dante,  the  Fables  of  Fontaine,  Poems  of 
Tennyson,  etc.,  have  made  him  a  world-wide  fame :  they  are  held  in 
every  possible  grade  of  estimation  ;  sometimes  praised  ad  nauseam, 
and  again  dispraised  in  the  same  ratio.  Dore  has  painted  many  pic- 
tures and  made  statues.  At  the  Salon  of  1877  he  exhibited  pictures 
of  "Jesus  Condemned"  and  "Daybreak  in  the  Alps" ;  an  etching  after 
his  picture  of  the  "  Neophyte  "  and  a  plaster  cast  of  "  Love  and  Fate"  ; 
in  1876,  a  painting  of  "  Christ  entering  Jerusalem  ";  in  1875,  "Dante 
and  Virgil  visiting  the  Seventh  Circle,"  "  The  House  of  Caiaphas," 
— id  "  The  Vagabonds"  ;  in  1874,  "  The  Christian  Martyrs,"  and  two 
landscapes ;  in  1873,  "  The  Darkness "  (St.  Luke  xxiii.  44)  and  a 
view  in  the  Alps  ;  in  1872,  "L'Alsace  !  "  and  "The  Murder  of  the 
Innocents";  in  1870,  "  Charity"  and  a  landscape  ;  etc.  "The  Angel 
with  Tobias  "  is  in  the  Luxembourg.  At  the  Johnston  sale,  a  tinted 
drawing  by  Dore,  "  The  Retreat  from  Moscow  "  (27  by  37)  sold  for 
$370.    [Died,  1883.] 

"  To  what  dost  tliou  not  drive  mortals,  famce  sacra  fames  ?  M.  Dor6  is  not  content  to 
be  a  designer  only,  or,  indeed,  a  painter  only.  He  has  also  wished  to  execute  a  work  in 
sculpture,  and  truly  for  a  debutant  he  has  not  much  miscarried.    •  Love  and  Fate 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  213 


shows  some  good  parts,  almost  enough  studied,  in  which  the  facility  of  the  celebrated 
improvisatore  is  found  again  with  more  exactness,  sculpture  oblige.  The  whole  presents 
itself  with  the  modesty  of  a  first  essay,  and  a  secret  hope  of  being  accepted  as  some- 
thing finished  ;  but  there  is  wanting,  I  know  not  what,  without  which  the  most  beau- 
tiful sketch  returns  to  the  studio  and  calls  for  the  chisel  anew.  Let  us  say,  however, 
the  figure  of  '  Love,'  indifferent  and  cruel,  is  well  conceived ;  the  hands  of  Fate  are 
galbees  with  a  cleverness  quite  Florentine.  Evidently  M.  Dore  must  be  ranked  with 
those  children,  well  endowed,  but  sometimes  spoiled  by  their  gifts,  who  almost  succeed 
in  all  that  they  undertake.  Already  crowned  with  so  many  laurels,  why  rests  he  not 
satisfied,  and  why  should  those  of  other  men  keep  him  from  sleep  ?  "  —  Ch.  Timbal, 
Gazette  des  Beaux-Arts,  June,  1877. 

"  Gustave  Dore  is  a  man  of  most  extraordinary  endowment ;  no  artist  except  Dietrich 
ever  had  stronger  assimilative  power,  and  besides  his  immense  borrowings  from  others, 
he  has  a  great  fund  of  purely  original  resource.  His  productiveness  has  been,  as  we  all 
know,  unexampled  and  prodigious ;  his  fecundity,  in  the  sense  of  giving  forth  fresh 
ideas,  has  of  course  been  considerably  less  so.  The  same  artistic  conception  is  often  re- 
peated by  him  twenty  or  thirty  times  under  different  forms  and  with  different  names  ; 
and  when  the  critics  found  this  out  they  set  up  a  cry  that  Dore  was  not  really  pro- 
ductive, though  he  seemed  so,  and  a  reaction  set  in  against  him  He  has  injured 

himself  by  working  too  much  in  order  to  make  a  fortune,  and  some  thousands  of  his 
later  designs  contain  little  that  is  new  to  us  Now,  Dore  has  always  had  an  am- 
bition to  be  a  painter,  and  has  rented  for  years  two  large  studios  in  Paris,  which  are 
crowded  with  canvases  ;  and  although  his  work  in  oil  has  never  been  much  liked  by  the 
public,  he  has  found  in  the  doing  of  it  a  refreshment  after  his  exhausting  labors  as  a 
designer  on  wood.  If  he  could  succeed  as  a  painter,  it  would  renovate  and  save  him. 
....  The  best  pictures  of  Dore  that  I  have  seen  are  the  '  Famille  du  Saltimbanque,' 
and  'Le  Neophyte.'  This  last  picture  was  exhibited  in  the  Salon  of  1868,  and  repre- 
sented a  young  monk  seated  among  his  brethren,  and  visibly  new  to  his  position.  The 
conception  of  the  subject  was  strikingly  vivid,  and  the  execution  vigorous  and  frank. 
Many  of  this  artist's  landscapes  are  finely  conceived,  but  these  are  never  executed  with 
sufficient  delicacy  to  be  satisfactory."  — Hamerton,  Painting  in  France. 

"  With  us  Dore  is  better  known  as  a  designer  on  wood,  an  illustrator  with  an  imagi- 
nation grotesque  and  prolific  beyond  all  precedent.  But  of  late  years  he  has  given  his 
attention  to  painting,  and  more  recently  to  sculpture,  and  from  time  to  time  exhibits 
large  landscapes,  or  figure-subjects  of  life  size.  To  criticise  these  paintings,  to  dissect 
them  until  nothing  is  left,  to  show  that  the  drawing  is  often  defective,  the  coloring 
often  unnatural,  would  be  an  easy  task.  But  it  is  not  so  easy  to  explain  away  the  pro- 
found impression  they  produce,  or  the  conviction  they  give  us  that  here  is  a  mind  stand- 
ing alone  in  Paris,  —  a  mind  Teutonic  rather  than  French  in  its  character,  looking  not 
so  much  on  the  surface  of  things  as  at  what  is  hidden  underneath,  studying  the  moral 

of  life  ;  a  French  Albert  Durer,  to  whom  existence  is  less  a  comedy  than  a  tragedy  

Dore  is  the  only  man  in  Paris  who  selects  subjects  with  a  moral,  as  do  the  English  and 

German  artists  What  could  be  more  like  a  satire  of  Juvenal,  written  with  a 

pen  dipped  in  gall,  than  in  Paris,  where  the  fallen  woman  has  been  occasionally  admitted 
to  the  best  circles  on  a  footing  with  virtue  (as,  for  example,  at  the  receptions  of  M. 
Arsene  Houssaye,  attended  by  the  princes  of  the  blood) ;  the  heroine,  too,  of  the  most 
prominent  literary  productions  in  France  ;  anything  but  a  poor,  forlorn,  desolate  thing 
of  shame,  whose  end  no  one  should  think  of  but  with  profound  pity  and  sorrow,  —  what 
could  be  more  tremendous  in  its  irony  than  here,  in  Paris,  to  paint  a  woman  of  that 
class,  with  sunken  cheeks  and  forsaken,  dying  on  a  cold  winter  night  on  a  stone  bench, 
under  the  stars  so  far  away  and  dim,  with  her  chubby  infant  vainly  seeking  milk  at  her 
breast,  and  to  call  her  '  La  Pecheresse'?  No  wonder  Charivari  suggests  that  M.  Dore 
is  rather  lugubrious  in  his  choice  of  subjects.  Very  impressive,  also,  are  such  wonder- 
ful compositions  as  his  '  Martyrs  in  the  Coliseum,'  'The  Dream  of  Pilate's  Wife,'  .... 
The  imagination  displayed,  the  massing  of  chiaroscuro,  the  rush  and  movement  of 


214     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


grouping  vast  multitudes,  and  the  moral  impressiveness  of  the  ideas  conveyed  are  cer- 
tainly indicative  of  immense  reserve  power.  But  the  drawing  is  often  defective  ;  very 
naturally  there  is,  with  enormous  variety,  much  mannerism  ;  and  it  must  be  admitted 
that  these  paintings  would,  with  two  or  three  exceptions,  appear  quite  as  effective  in 
black  and  white.  His  'Neophyte,'  for  example,  executed  in  monochrome,  does  not 
seem  to  require  the  aid  of  color  to  make  it  what  it  is,  —  one  of  the  most  tremendous  in- 
vectives against  the  conventual  system  which  has  been  seen  since  the  days  of  Savona- 
rola."—  S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

"  It  is  hazardous  to  undertake  to  analyze  the  gifts  of  a  man  who,  at  only  thirty-two 
years  of  age,  has  made  nearly  fifty  thousand  designs  and  won  universal  fame ;  who  is 
cosmopolitan  in  his  choice  of  subjects,  as  familiar  with  the  great  writers  of  England, 
Germany,  Italy,  and  Spain,  as  with  his  own,  and  finally  laid  the  whole  Orient  under 

contribution  by  illustrating  anew  for  the  nineteenth  century  the  Bible  If  the 

predominant  trait  of  Delacroix  was  physical  force,  that  of  Dore  is  fiendish  horror.  That 
which  devils  most  enjoy  he  most  heartily  depicts.  Added  to  this  is  a  fecundity  of  in- 
vention, and  a  darksome  flow  of  creative  invention  which  places  him  the  foremost  of 
his  kind.  Even  Dante,  reared  in  mediaeval  notions  of  theology  and  politics,  finds  some 
springs  of  tenderness,  and  always  of  faith,  in  his  soul ;  but  Dore,  in  translating  his 
*  Inferno  '  into  pictorial  French,  discards  all  humanity,  and  presents  the  horrors  of  the 
Dantesque  imagery  in  forms  more  appalling  than  the  original.  The  advanced  theories 
of  peace  and  good-will  to  men  of  our  century  make  no  impression  on  him.  Before  his 
advent  we  had  no  entirely  adequate  conception  of  diabolism.  Other  interpreters  of 
Dante,  Orgagna  and  Michael  Angelo,  for  instance,  had  given  us  glimpses  of  its  features 
in  a  grand  way,  but  it  has  been  reserved  to  Dore  to  let  us  into  its  utter  horror.  He 
finds  in  it  a  satisfaction  akin  in  depth  to  the  intensity  of  ecstasy  which  prompted  the 
celestial  visions  of  Fra  Angelico.  It  is  no  coldly  studied  design,  but  a  spontaneous 
outflow,  like  seething  lava.  Alike  remarkable  is  the  increasing  activity  of  his  phantom 
creations.  They  are  supernaturally  endowed  with  vitality.  He  transforms  all  nature 
into  demoniacal  forces  in  keeping  with  weird  scenery  invoked  by  his  imagination.  In 
the  'Wandering  Jew,' untrameled  by  the  necessity  of  illustrating  the  ideas  of  another, 
he  gives  his  own  freer  play.  The  powers  of  darkness  are  let  loose.  Heaven  itself 
catches  the  vindictive  spirit  of  Hell.  This  is  art  undergoing  the  delirium  tremens,  with 
ravings  as  blasphemous  as  they  are  foul  and  hideous.  This  may  seem  harsh  judgment, 
but  an  art  that  distorts  and  misrepresents  the  divine  attributes,  engendering  hate  or 
fear  in  place  of  love  and  charity,  is  not  to  be  dealt  gingerly  with.  A  sensitive  imagina- 
tion cannot  look  it  over  without  risk  of  nightmare  Dore's  intellect  is  too  deep  for 

light  sins.  With  him  there  is  no  innuendo,  dainty  disguise,  or  tempting  display,  but 
plain,  outspoken  passion  and  lust,  and  indifference  to  virtue.  The  four  hundred  and 
twenty -five  cuts  of  the  '  Contes  Drolatiques  '  form  a  unique  monument  to  his  debauch- 
ery of  design  ;  a  consuming  fire  to  the  weak  in  morals,  a  wonderful  master-work  of  in- 
vention to  the  well-trained  brain  which  can  appreciate  its  wit  and  satire  without  being 
contaminated  by  its  smut ;  and  an  object  of  disgust  to  the  one-sided  pious  mind.  Dore 
seems  to  have  faith  of  no  kind.  His  mental  vision  explores  behind  the  material  veil  of 
creation  as  freely  as  his  natural  eye  sees  the  moving  panorama  around  it.  But  the 
world  seen  and  unseen  is  to  him  simply  a  field  from  which  to  cull  motives  for  his  ex- 
traordinary powers.  He  belongs  to  no  fixed  time.  The  mediaeval  spirit  of  the  grotesque 
is  as  fresh  within  him  as  the  sense  of  modern  caricature.  The  supernatural  element 
annihilates  time,  making  him  as  much  at  home  in  the  scenes  of  Oriental  life,  as  recorded 
in  the  Bible,  as  if  he  had  passed  them  in  actual  review.  But  there  is  no  religious  senti- 
ment in  it.  Its  force  is  expended  on  the  graphic-realistic  or  the  imaginative-creative 
of  the  supernal  cast.    A  fine  example  of  the  latter  is  the  seven-headed  beast  of  the 

Apocalypse  rising  out  of  the  sea  Fra  Angelico  could  not  paint  a  devil ;  Dore 

cannot  draw  a  saint.  His  illustrations  of  the  Bible  are  a  record  of  his  strongest  and 
weakest  qualities.  He  is  not  many-sided.  But  in  his  own  wide  field,  including  the 
darker  aspect  of  creation,  natural  and  supernal,  and  up  to  a  certain  point  in  the  pictu- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  215 


resque  and.  sublime  in  realistic  action,  he  is  supreme.  The  most  and  almost  the  sole 
humane  sympathy  he  exhibits  is  a  certain  liking  for  children,  but  this  only  in  their 

dubious  sports  Dore  makes  love,  pity,  charity,  and  faith  absurd.   Under  his 

influence  one  feels  that  honest  emotions  or  any  trait  of  common  humanity,  much  less 
piety,  are  evidence  of  weakness  or  nonsense.  The  world  being  an  infernal  bubble,  let 
us  laugh  or  sneer ;  the  end  will  take  care  of  itself.  If  this  is  unjust  towards  Dore,  he 
has  made  it  the  frequent  language  of  his  art.    As  a  landscapist  Dore  shows  qualities 

which  place  him  above  all  others  of  the  school  They  are  ideal  compositions 

interpenetrated  with  the  gloom  and  mystery  of  a  nature  torn  by  her  own  wrath,  and 
terrified  by  her  own  mystic  solitude  ;  in  general  dissociated  from  man,  or,  when  asso- 
ciated with  him,  akin  to  his  fellest  passions,  untamed  and  savage  as  he  was  before 
civilization  began.  They  realize  our  conception  of  primal  creation.  There  is  no  carica- 
ture in  them,  but  a  vast  creative  or  disturbing  sense,  which  makes  and  destroys  with 
equal  facility.  Dore  grasps  the  formative  idea,  and  shapes  his  creations  to  express  the 
animating  feeling.   It  is  organic  spirit  even  more  than  nature  that  we  see  in  his  designs. 

He  thus  insists  upon  the  highest  triumphs  of  art  Dore's  art  is  great.    Is  it 

good  ?  It  need  not  be  Christian  in  a  nice  sense  to  be  this,  but  it  must  be  natural,  truth- 
ful, and  humane.  It  should  have  also  the  instinct  of  the  beautiful.  Dore's  art  has 
almost  none  of  these  qualities.  Much  of  it  is  heartless,  sensual,  and  perverse.  It  re- 
fuses to  elevate,  or  instruct,  or  even  amuse,  except  the  mind,  like  the  art,  be  prone  to 
obscene,  cruel,  or  mocking  levity  ;  preferring  to  excite  emotions  which  have  in  them 
little  that  is  pleasurable  or  improving.  The  general  tendency  is  to  deepen  and 
strengthen  those  proclivities  of  the  French  school  which  most  require  pruning  and 
reforming.  If  the  Devil  has  ever  created  such  an  office  as  Designer-in-chief  to  Hell,  it 
is  now  filled  by  Dore."  —  Jarves,  Art  Thoughts. 

Doublemard,  Am£d£e  Donatien.  (Fr.)  Born  at  Beaurain. 
Prix  de  Rome  in  1855.  Medal,  1863.  Pupil  of  Duret.  At  Philadelphia 
he  exhibited  "  The  Education  of  Bacchus,"  in  bronze,  and  "  Scapin," 
after  Moliere,  and  received  a  medal. 

Doughty,  Thomas.  (Am.)  Born  in  Philadelphia  (1793-1856). 
Spent  his  youth  in  mercantile  pursuits,  painting  in  his  leisure  mo- 
ments without  a  master,  gradually  developing  a  decided  talent  for  art, 
which  he  finally  adopted  as  a  profession,  about  1820.  He  worked  in 
London  and  Paris  as  well  as  in  the  United  States,  and  his  landscapes 
daring  his  life  were  very  popular  and  are  still  prized.  His  "  View  on 
the  Hudson,"  a  small  canvas,  was  sold  at  the  Johnston  sale  in  1876. 
Among  his  other  and  better-known  works  are,  "  A  View  near  Paris," 
"  Delaware  Water-Gap,"  "  Scene  on  the  Susquehanna,"  "  Peep  at  the 
Catskills,"  "  Old  Mill,"  etc. 

"  For  some  years  the  demand  for  and  the  reputation  of  Dough ty's  pictures  indicated  a 
high  rank  and  an  effective  style.  He  was  one  of  the  earliest  American  artists  to  make 
evident  the' charm  of  what  is  called  the  '  silvery  tone,' and  to  reproduce  with  genuine 
grace  and  emphasis  autumnal  effects."  — Tuckerman's  Book  of  the  Artists. 

Douglas,  Sir  William  Fettes.  (Brit)  Born  in  Edinburgh,  1823. 
He  received  his  art  education,  which  was  of  a  very  desultory  character, 
in  his  native  city,  and  began  to  exhibit  at  the  Royal  Scottish  Academy  in 
1844,  chiefly  portraits.  He  was  elected  an  Associate  of  that  institution 
in  1851,  and  Academician  three  years  later.  Among  his  early  works 
are,  "  The  Astrologer,"  "  The  Fiddler's  Comfort,"  "  The  Intercepted 
Dispatch,"  "  The  Widow's  Mite,"  "  The  Knife-Grinder  "  (1850) ;  "  The 


216      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Auld  Scotch  Wife"  (1851);  "Dean  Swift  and  the  Errand-Boy,"  in 
1854 ;  "Among  the  Brambles  ,"  in  1855  ;  "  Messenger  of  Evil  Tidings," 
in  1857  ;  "  St.  Dunstan  and  the  Devil,"  in  1858 ;  "  The  Errand  of 
Mercy,"  and  others.  In  1862  he  sent  to  the  Royal  Scottish  Academy  his 
"  Dante  arranging  his  Friends  in  the  Inferno,"  a  picture  which  attracted 
much  attention.  He  sent  to  the  Royal  Academy,  London,  the  same 
year,  "Criticism";  in  1867,  " The  Conspirators  " ;  in  1868,  "Waiting  for 
a  Last  Interview."  Among  his  later  works  are,  "  The  Suicide's  Pool," 
"  China  Mania,"  "  The  Iron  Chest,"  "  Scene  from  the  Antiquary,"  etc. 
Knighted  (1882)  on  election  as  President  of  the  Royal  Scottish  Academy. 

Douglas,  Edwin.  (Brit.)  Born  in  Edinburgh,  1848.  He  received 
his  art  education  in  the  school  of  the  Royal  Scottish  Academy ;  resid- 
ing in  his  native  city  until  1872,  since  which  time  he  has  painted  in 
London  and  Surrey.  He  first  exhibited  at  the  Royal  Scottish  Acad- 
emy, in  1865,  "A  Yeoman's  Charger,"  followed  in  other  years  by  "  The 
Deer-Path,"  "  Ready  to  Start,"  "  Willie  and  his  Pets,"  "  The  Show- 
man's Girl,"  "  The  Doctor's  Pony,"  "  The  12th  of  August,"  etc.  To 
the  Royal  Academy,  London,  he  sent  in  1869,  "The  Watch- Tower " ; 
in  1872,  "  The  Bather's  Attendant,"  engraved  by  James  Scott,  and 
"  Highland  Hearth,"  engraved  by  R.  B.  Parkes.  Among  his  later 
pictures  are,  "  Crossing  the  Loch,"  "  Hailing  the  Ferry,"  "  October 
Shooting,"  "  The  Maiden  all  Forlorn,"  "  Milkmaids  and  Marguerites  " 
(R.  A.,  1878),  and  "A  Family  from  Jersey"  (R.  S.  A.,  1878). 

"  The  place  left  vacant  by  Sir  Edwin  Landseer  is  in  a  measure  filled  by  Edwin  Douglas. 
It  wovdd  be  too  much  to  say  that  he  does  what  his  great  predecessor  did,  or  that  he  will 

ever  do  as  much,  although  he  is  young  and  is  certain  to  progress  In  more  than  one  in- 

•  stance  a  picture  from  his  pencil  has  been  taken  to  be  a  production  of  Landseer,  and  not 
to  the  reproach  of  the  greatest  master  of  our  time."  —  Art  Journal,  November,  1871. 

"  Landseer  himself  had  never  a  finer  sense  of  texture  than  we  have  here  ['  Milking-Time 
in  Jersey '],  and  had  he  found  such  a  subject  to  paint  he  could  scarcely  have  rendered  it 
with  greater  suavity."  —  Art  Journal,  July,  1877. 

Doyle,  Richard.  (Brit.)  Born  in  London,  1826.  Son  of  John 
Doyle,  a  well-known  caricaturist,  from  whom  he  inherited  his  talents 
as  a  draughtsman  and  a  satirist.  He  was  one  of  the  early  contrib- 
utors to  Punch  in  1841,  resigning  his  position  on  the  staff  of  that 
journal  in  1850.  He  has  since  designed  the  illustrations  for  many 
well-known  English  magazines  and  books,  notably,  "  The  Newcomes  " 
for  Thackeray  ;  Leigh  Hunt's  "  Pot  of  Honey,"  Ruskin's  "  King  of 
the  Golden  River,"  "Jack  the  Giant- Killer,"  and  others.  In  1854 
he  published,  "  The  Continental  Tour  of  Brown,  Jones,  and  Robin- 
son "  ;  in  1869,  "  The  Fairy  Land"  ;  etc.  He  is  a  contributor  to  the 
exhibitions  of  the  Grosvenor  Gallery.    [Died,  1883.] 

"  It  was  the  practice,  during  the  first  years  of  Punch's  existence,  to  commence  a  new 
wrapper  with  each  succeeding  volume,  until  Richard  Doyle  appeared  upon  the  scene, 
and  it  was  thought  that  the  grotesque  yet  graceful  combination  which  he  supplied  was 
far  too  good  to  be  thrown  aside  at  the  expiration  of  six  months.  The  proprietors 
of  the  work,  therefore,  very  wisely  caused  Mr.  Doyle's  frontispiece  to  be  stereotyped, 
and  it  now  remains,  with  certain  modifications,  the  permanent  tableau  on  the  outet 
covering  of  Punch."  —  Hodder's  Memoirs  of  my  Time. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  217 


Drake,  Friedrich  Johann  Heinrich.  (Ger.)  Born  at  Pyrmont, 
1805.  Member  of  the  Academies  of  St.  Petersburg,  Antwerp,  St. 
Luke  at  Rome,  and  the  Institute  of  France.  Member  of  the  Senate 
of  the  Academy  of  Berlin.  Professor  of  Sculpture  in  the  same  Acad- 
emy. Chevalier  of  the  Red  Eagle  and  of  the  Legion  of  Honor. 
After  considerable  preliminary  study  and  some  practice  of  sculpture 
he  became  the  pupil  of  Rauch  at  Berlin.  His  early  works  established 
his  reputation,  and  it  is  only  necessary  to  know  the  honors  he  has  re- 
ceived, and  to  read  a  list  of  his  works,  to  understand  in  what  estima- 
tion he  is  held.  Among  the  latter  are,  "A  Madonna  and  Child," 
purchased  by  the  Empress  of  Russia  ;  "A  Dying  Soldier  to  whom 
Victory  shows  a  Crown,"  "  The  Eight  Provinces  of  Prussia "  (mas- 
terly works,  executed  in  1844),  for  one  of  the  salons  of  the  chateau 
of  Berlin ;  eight  groups,  which  decorate  the  bridge  of  the  same 
chateau  ;  and  a  second  "  Warrior  crowned  by  Victory,"  which  is  a 
chef-d'oeuvre  of  Prussian  sculpture.  But  Drake  is  even  more  celebrated 
for  his  portrait  busts  and  statues  than  for  his  imaginary  subjects  ;  in 
view  of  these  he  has  been  called  "  the  David  d' Angers  of  Prussia." 
There  are  scarcely  any  notable  men  of  his  country  whom  he  has  not 
reproduced  by  his  art.  He  has  made  statuettes  of  Schinkel,  the  two 
Humboldts,  Rauch,  of  whom  he  has  also  made  a  colossal  statue  for 
the  vestibule  of  the  Museum  of  Berlin;  a  colossal  statue  of  Justus 
Mceser,  for  the  square  of  the  Cathedral  at  Osnabriick  ;  a  colossal 
bust  of  the  naturalist  Oken,  for  Jena  ;  and  one  statue  of  "  Frederick 
William  III."  for  the  city  of  Stettin,  and  another  for  the  Menagerie 
of  the  city  of  Berlin.  In  1867  Drake  sent  to  Paris  a  bronze  statue  of 
the  "  King  of  Prussia,"  for  which  he  received  a  medal  of  honor.  At 
the  National  Gallery  of  Berlin  is  his  "  Vine-Dresser  "  and  a  bust  of 
"  Friedrich  von  Raumer."  In  the  "  Zeitschrift  fur  bildende  Kunst " 
of  1869,  Bruno  Meyer  describes  his  Schinkel  Monument  at  Berlin,  and 
speaks  of  it  in  terms  of  high  praise.    [Died,  1882.] 

Dreber,  Heinrich.  (Ger.)  Born  at  Dresden  (1822-1875).  Mem- 
ber of  the  Academy  of  St.  Luke  at  Rome.  Great  gold  medal  at 
Dresden.  Landscape-painter.  Studied  in  the  Academy  of  his  native 
city,  and  also  under  Ludwig  Richter.  Went  for  a  time  to  Munich, 
and  then,  as  a  pensioner  of  the  Dresden  Academy,  to  Rome,  where  he 
spent  most  of  his  life.  In  the  National  Gallery  at  Berlin  are  his 
"Landscape  with  Diana  Hunting"  and  "Autumn  Morning  in  the 
Sabine  Mountains." 

Droz,  Jules- Antoine.  (Fr.)  Born  at  Paris  (1807  -  about  1871). 
Chevalier  of  the  Legion  of  Honor.  Son  of  a  distinguished  engraver. 
Pupil  of  Cartellier  and  Regnault.  Among  the  most  remarkable 
works  of  this  sculptor  are,  "  The  Genius  of  Evil,"  at  the  chateau  of 
Compiegne  ;  "  The  Angel  of  Martyrdom,"  at  the  church  of  Saint- 
Sulpice  ;  busts  of  Camoens  and  Don  Enrico,  at  the  Royal  Palace  of 
Lisbon  ;  allegorical  representations,  in  marble,  of  "  Summer "  and 
10 


218     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"Winter,"  at  the  Salon  of  Horticulture  of  the  Luxembourg;  a  part 
of  the  decorations  of  the  facades  of  the  new  Louvre  ;  etc. 

Drummond,  James.  (Brit.)  Born  in  Edinburgh  (1816  -  1877). 
He  spent  the  greater  part  of  his  professional  life  in  his  native  city. 
He  devoted  himself  to  paintings  of  a  historical  and  antiquarian  char- 
acter. He  did  not  exhibit  until  1835.  He  was  elected  an  Associate 
of  the  Koyal  Scottish  Academy  in  1846,  and  Academician  in  1852. 
He  was  Librarian  to  the  Academy,  and  for  some  years  Curator  to  the 
National  Gallery  of  Scotland. 

His  "  Porteus  Mob,"  "  Eeturn  of  Mary  Queen  of  Scots  to  Edinburgh 
from  Carbery  Hill  in  1567,"  "  Old  Mint,  Edinburgh,"  "  Castle  Road, 
Edinburgh,"  "  Queen  Mary's  Bath,  Holyrood,"  and  others,  are  in  the 
Scottish  National  Gallery. 

"There  is  always  aspiration  in  the  productions  of  James  Drummond,  and,  considering 
the  difficulty  of  bringing  historical  events  to  a  powerful  transcript,  we  are  pleased,  on 
the  whole,  with  'The  Royal  Prisoners '  [R.  S.  A.,  1874].  The  massive,  projecting  archi- 
tecture he  is  so  fond  of  introducing  endangers,  at  times,  the  importance  of  the  figures, 
but,  despite  this,  these  Cavaliers  and  Roundheads  are  well  grouped,  variety  of  attitude 
is  skillfully  studied,  while  costume,  armor,  and  facial  expression  are  capitally  wrought." 
—  Art  Journal,  April,  1874. 

Drury,  J.  H.  (Am.)  Born  at  Georgetown,  D.  C,  1816.  A  fol- 
lower of  the  French  school  and  pupil  of  Thomas  Couture  of  Paris. 
He  is  a  member  of  the  Chicago  Academy  of  Design,  and  has  spent 
the  better  part  of  his  professional  life  in  that  city. 

Duban,  Jacques-Felix.  (Fr.)  Born  at  Paris  (1797 -about  1871). 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of 
Debret  and  l'^cole  des  Beaux- Arts.  Took  the  grand  prize  in  1823. 
In  1834  Duban  was  charged  with  the  completion  of  the  Pajais  des 
Beaux- Arts,  left  unfinished  by  Debret,  for  which  he  made  an  entirely 
new  plan.  In  1845  he  executed  the  very  important  work  of  the 
restoration  of  the  chateau  of  Blois,  and,  later,  that  of  Dampierre,  be- 
longing to  the  Duke  de  Luynes.  After  the  revolution  of  February, 
Duban  became  Architect  of  the  Louvre,  and  superintended  the  works 
on  a  large  portion  of  the  galleries,  and  many  other  parts,  both  ex- 
terior and  interior.  The  details  of  the  interior  ornamentation  he 
studied  carefully  and  prepared  them  himself.  In  1854  he  resigned 
his  title  of  Architect  of  the  Louvre.  He  sent  many  designs  to  the 
Salons.  Twelve  of  those  from  the  chateau  of  Blois  obtained  a 
medal  of  honor  at  the  Exposition  of  1865. 

Dubois,  Paul.  (Fr.)  Born  at  Nogent-sur-Seine,  1829.  Member 
of  the  Institute.  Officer  of  the  Legion  of  Honor.  One  of  the  jury 
of  admission  for  the  section  of  Sculpture  at  the  Exposition  of  1878. 
This  celebrated  sculptor  studied  law  in  early  life,  but  was  constrained 
by  his  artistic  tastes  to  devote  himself  to  sculpture.  Toussaint  was 
his  master  in  Paris.  He  went  to  Italy,  and  passed  several  years. 
He  executed  at  Florence  in  1860  the  model  for  the  "  Saint- Jean,  a 
Child,"  which  was  finished  at  Borne,  exhibited  at  the  Salon  of  1863 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  219 


and  is  now  at  the  Luxembourg,  together  with  "  A  Florentine  Singer 
of  the  Fifteenth  Century."  This  last  is  in  silvered  bronze  ;  it  has 
been  reproduced  in  bronze  and  plaster  in  a  smaller  size,  and  has  been 
very  popular.  This  artist  has  also  studied  painting,  and  has  executed 
fine  portraits  and  beautiful  copies  after  the  pictures  of  the  masters. 
Dubois  has  been  a  very  irregular  contributor  to  the  Salon  exhibi- 
tions. In  1877  he  sent  two  portrait  busts  and  two  painted  portraits  ; 
in  1876,  a  painted  portrait  of  his  children,  and  another  of  a  lady,  and 
two  statues  in  plaster  of  "  Charity"  and  "  Military  Courage,"  intended 
for  the  monument  to  General  La  Moriciere,  to  be  erected  at  Nantes  ; 
in  1875,  a  "  Portrait  of  a  Lady"  (painted)  and  three  portrait  busts  in 
plaster;  in  1874,  statue  of  "Narcissus,"  in  marble;  in  1873,  two 
painted  portraits  and  a  statue  in  plaster  of  "  Eve."  Among  his  other 
works  are,  "  Narcissus  at  the  Bath  "  (1867).  A  group,  of  the  "  Virgin 
and  Infant  Jesus,"  etc.  At  the  Salon  of  1878  he  exhibited  portraits 
in  painting  and  in  sculpture. 

"  '  My  Children,'  by  Paul  Dubois,  is  one  of  the  best-conceived  portraits  which  can  be 
met.  Composed  with  extreme  simplicity,  designed  with  perfect  elegance  and  truth, 
painted  in  a  sober  and  serious  gamut  of  color,  which  distracts  not  the  attention,  and 
concentrates  the  effect  on  the  faces,  this  picture  makes  itself  to  be  remarked  among 
others  by  its  frankness  of  aspect,  its  sincerity  and  depth  of  expression.  It  is  thus  a 
portrait  should  be  conceived  ;  it  is  neither  an  official  page  nor  a  composition  of  state. 
Is  it  not  the  merit  of  this  painting,  by  a  sculptor,  that  is  a  striking  refutation  of  the 
error  of  certain  persons  who  accord  an  exaggerated  importance  to  the  trade,  who  see  in 
a  work  of  art  only  the  execution,  and  who  seem  to  believe  that  this  perfection  is  the 
only  infallible  sign  of  the  talent  of  the  artist?  In  examining  this  canvas,  so  simply 
treated,  one  feels  that  the  value  of  a  work  depends  on  another  cause  besides  the  skill  of 
its  process.  He  is  not  an  artist  who  represents  his  model  irreproachably ;  but  he  is 
truly  an  artist  who  knows  how  to  see,  to  comprehend,  to  feeL  This  truth  admitted, 
there  is  nothing  which  should  astonish  us  in  the  superior  quality  of  the  painting  of  Paul 
Dubois.  An  artist  of  this  worth  puts  into  the  form  of  art  which  he  chooses  to  employ 
for  the  expression  of  his  thought  the  superiority  of  his  aesthetic  sentiment  and  the  height 
of  his  conception  of  the  beautiful.  And  when  the  expression  is  alive,  when  the  thought 
is  clear  and  strong,  how  the  handicraft  becomes  unimportant,  how  the  execution,  of 
which  others  struggle  to  pursue  the  refinements,  is  quickly  his,  and  how  it  obeys  the 
hand  guided  by  a  true  inspiration  !  One  may  apply  to  art  the  precept  of  Boileau,  — 
'  Ce  qui  se  con^oit  bien  s'enonce  clairement, 
Et  les  mots  pour  le  dire  arrivent  aise"ment.' 
Paul  Dubois  has  a  profound  science  of  form,  and  of  nature.  In  whatever  manner  he 
wishes  to  reproduce  his  model,  the  docile  process  lends  itself  to  his  undertaking,  and 
without  false  cleverness,  simply,  naively,  honestly,  serves  his  interpretation."  —  A.  Bon- 
nin,'  Salon  o/1876,  L'Art. 

Dubois,  Charles  E.  (Am.)  Born  in  New  York.  Pupil  of  Gleyre 
and  Francais  in  Paris.  He  has  also  painted  in  Venice  and  Rome. 
At  the  Paris  Salon  of  1873  he  exhibited  "  Cottages  of  the  Seeland" 
and  "  The  Village  of  Au vernier,  Lake  Neuchatel " ;  in  1876, "  Moulin, 
pres  de  Dordrecht  (Pays-Bas)";  in  1878,  "  A  Morning  on  the  Prairie," 
etc.  To  the  Philadelphia  Exposition  he  contributed  "Willows  at 
East  Hampton  "  and  "  Palisades,  Hudson  River  "  ;  to  the  Paris  Expo- 


220     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


sition,  1878,  "  Morning  in  Venice,"  "  Autumn,"  and  "A  View  on  the 
Hudson."  His  "  Evening  at  East  Hampton  "  was  at  the  Exhibition 
of  the  Society  of  American  Artists,  New  York,  1878. 

Dubray,  Gabriel- Vital.  (Fr.)  Born  at  Paris  about  1818.  Offi- 
cer of  the  Legion  of  Honor.  Pupil  of  Barney.  Made  his  debut  at 
the  Salon  of  1840.  This  sculptor  usually  treats  genre  subjects  or  those 
of  monumental  sculpture.  At  the  Salon  of  1876  he  exhibited  a  bronze 
statue  of  a  "  Mourning  Angel  "  for  a  monument  to  be  erected  at  Canton 
in  memory  of  the  soldiers  who  died  during  the  expedition  to  China  ; 
in  1872,  a  group  in  plaster,  "  The  Poor  Blindman,"  and  a  portrait 
bust  in  marble  ;  in  1870,  a  portrait  bust  in  marble  of  "  Madame  D."  ; 
in*1869,  "  Joseph  Bonaparte  "  ;  in  1868,  "  (Edipus  and  the  Sphinx"  ; 
etc. 

He  executed  several  statues  for  the  new  Louvre  ;  "  The  History  of 
Joan  of  Arc  "  (in  ten  bas-reliefs),  for  the  base  of  the  monument  erected 
to  that  heroine  at  Orleans  ;  "  Saint  Benoit,"  at  the  church  of  Saint 
Etienne-du-Mont ;  etc. 

Dubray,  Charlotte  Gabrielle.  (Fr.)  Born  at  Paris.  Daughter  of 
the  preceding,  and  pupil  of  her  father.  She  has  exhibited  her  works  at 
several  Salons ;  at  that  of  1877,  "The  Coquette"  (a  bust,  terra-cotta) 
and  a  portrait  of  Mr.  Birbeck  (bust,  bronze)  ;  in  1876,  "  The  Daughter 
of  Jephthah  weeping  on  the  Mountain  "  (statue,  plaster)  and  "  A  Nea- 
politan" (a  study,  bust,  in  bronze)  ;  in  1875,  "  The  Study  of  a  Head," 
Florence,  sixteenth  century  (bust,  silvered  bronze) ;  in  1874,  "  A 
Fellah  Girl  of  Cairo"  (bust,  marble),  etc. 

Dubray,  Eugenie  Giovanna.  (Fr.)  Born  at  Florence,  a  sister 
of  the  preceding,  and  also  a  pupil  of  her  father.  She  has  also  ex- 
hibited her  works  at  several  Salons. 

Dubufe,  Claude-Marie.  (Fr.)  Born  at  Paris  (1793-1864). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  David.  This  artist  in 
the  early  part  of  his  career  represented  heroic,  classical,  and  religious 
subjects.  His  "Apollo  and  Cypanissa  "  was  purchased  for  the  Lux- 
embourg. For  the  Chamber  of  the  Council  of  State  he  painted  rep- 
resentations of  Egypt,  Greece,  Italy,  and  France.  Later,  he  devoted 
himself  to  portraiture,  and  attained  a  triumph,  especially  with  ladies. 
It  was  soon  the  highest  fashion  to  go  to  Dubufe  for  a  picture,  and  he 
received  as  sitters  many  eminent  persons,  both  men  and  women.  He 
exhibited  also  a  few  subject-pictures,  such  as  "The  Republic"  (1849) 
and  the  "  Birth  of  Venus  "  (1859).  Among  his  more  popular  genre 
subjects  are  "  The  Nest,"  "  The  Household,"  "  The  Slave-Merchant," 
and  "  The  Abandoned."  Among  his  portraits  are  those  of  the  Queen 
of  the  Belgians,  the  Duchess  of  Istria,  the  Countess  Lehon,  General 
Atthalin,  and  Miss  Vernon. 

Dubufe,  Edouard.  (Fr.)  Born  at  Paris  about  1818.  Officer  of 
the  Legion  of  Honor.  This  painter  studied  under  his  father,  Claude- 
Marie  Dubufe,  and  Paul  Delaroche,  and  made  his  debut  at  the  Salon 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  221 


of  1839.  For  several  years  he  painted  religious  and  sentimental  sub- 
jects, but  at  length  devoted  himself  to  portrait-painting,  in  which 
specialty  he  has  become  famous.  He  has  received  as  sitters  many 
distinguished  persons,  among  whom  we  may  mention  the  Empress 
Eugenie,  Rosa  Bonheur,  the  Princess  Mathilde,  M.  Robert  Fleury, 
Count  Nieuwerkerke,  etc.  In  1877  he  exhibited  the  portraits  of  M. 
Simile  Augier,  of  the  French  Academy,  and  M.  Harpignies  ;  in  1876, 
portrait  of  Philippe  Rousseau ;  in  1875,  three  portraits ;  in  1873,  por- 
trait of  Alexander  Dumas  the  younger;  etc.    [Died,  1883.] 

"  The  critic  vis-a-vis  with  M.  Dubufe  finds  himself  in  a  difficult  position.  The  por- 
traits of  ladies  which  he  exhibits  please  the  public,  little  anxious  for  severe  qualities 
and  for  grand  art.  They  are  charming  in  effect,  with  an  exquisite  coquetry  ;  fresh, 
white,  rosy,  satin-like,  and  against  the  hangings  of  scarlet  damask,  in  their  magnificent 
frames  a  rocailles  and  a  volutes,  they  ought  to  produce  an  effect  as  agreeable  as  an  enor- 
mous bouquet  of  flowers  bordered  with  a  comet  du  Japon.  All  that  glistens,  twinkles, 
dazzles  so  pleasingly,  with  an  eclat  so  new,  so  appropriate,  so  intact !  One  truly  seems 
savage  and  grumbling  when  one  demands,  under  these  skins  of  cold  cream,  paint,  and 
rice-powder,  some  muscles,  nerves,  and  even,  horrible  thing,  a  brace  of  bone.  '  Fie  !  the 
frightful  thing,  that  anatomy  ! '  they  murmur,  changing  their  gracious  smile  for  a  deli- 
cious pout,  these  mouths  of  rose,  of  raspberry,  or  of  cherry.  What  then  !  cheek-bones 
in  our  peach-like  cheeks,  bones  and  cartilages  in  our  little  delicate  noses  !  Are  we 
skeletons  or  skinned  carcasses  ?  This  flattery,  necessary  perhaps,  sometimes  leads  the 
painter  of  high  life  into  too  visible  falsehoods.    We  understand  very  well  that  one  may 

set  off  the  truth  a  little.   Nothing  is  more  legitimate  If  we  say  these  things  of  M. 

E.  Dubufe,  it  is  because  he  has  real  talent  and  would  have  no  need  Of  so  many  concessions 
in  order  to  please.  His  color  is  bright,  clear,  harmonious  ;  his  dresses  are  rich,  elegant, 
coquettish  ;  his  brush  obeys  his  hand  freely.  Let  him  have  less  fear  of  Nature  ;  she  will 
give  him  good  counsels."  —  Teg&ophile  Gautier,  Abecedaire  du  Salon  de  1861. 

Dubufe,  G-uillaume.  (Fr.)  Born  at  Paris.  Pupil  of  his  father 
and  of  Mazerolle.  In  1877  he  exhibited  the  "  Death  of  Adonis"  and 
a  "  Study,"  and  received  a  third-class  medal.  He  had  also  a  medal 
of  second  class  in  1878,  when  he  exhibited  "  Saint  Cecilia "  and 
"  April." 

Due,  Joseph  Louis.  (Fr.)  Born  at  Paris  (1802-1879).  Member 
of  the  Institute.  Commander  of  the  Legion  of  Honor.  He  received 
the  grand  prize  of  100,000  francs,  given  by  Napoleon  III.  in  1869. 
Due  studied  under  Chatellon,  and  took  the  grand  prize  at  1'^ cole  des 
Beaux- Arts  in  1825.  He  was  architect  of  the  Monument  de  Juillet, 
of  the  Palais  du  Justice,  and  with  Vaudoyer  he  constructed  the  Ca- 
thedral of  Marseilles.  The  fagade  of  the  Court  of  Cassation,  which 
he  superintended  in  1868,  has  brought  him  much  reputation. 

Ducker,  Eugene.  (Russian.)  Born  at  Orensburg,  1841.  Mem- 
ber of  the  Academies  of  St.  Petersburg  and  Stockholm.  Member  of 
the  Eoyal  Society  of  Water-Color  Artists  at  Brussels.  Member  and 
Professor  at  the  Academy  of  Diisseldorf.  Medals  at  Vienna,  Munich, 
and  London.  Pupil  of  the  Academy  at  St.  Petersburg,  where  he  re- 
ceived two  silver  and  two  gold  medals  and  the  six  years'  stipend  for 
traveling  studies.     A  painter  of  coast-scenes  and  landscapes.  At 


222     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Berlin,  in  1876,  he  exhibited  "  Shore  of  the  Baltic  Sea,"  "  A  Sea~ 
Shore,"  and  "  A  Pasture  "  ;  in  1868,  "A  Marsh  or  Fen  "  (storm),  now 
belonging  to  the  Emperor  of  Russia.  At  Moscow  is  his  picture  of 
the  "  Ausgetrocknetes  Fliissbett."  A  large  decorative  work  executed 
in  1873  is  owned  by  the  Grand  Duke  Wladimir  Aleksandrowitsch. 
His  works  are  seen  in  the  museums  and  public  galleries  of  Russia,, 
Germany,  and  England,  also  in  many  private  galleries. 

"  Diicker,  who  is  also  a  painter  of  coast  and  landscape,  is  an  artist  whose  tone  and 
touch  and  resemblance  to  nature  in  his  canvases  place  him  among  the  foremost  paint- 
ers of  the  age  in  that  line."  —  S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

Duffield,  William.  (Brit.)  (1816  -  1863).  Early  showed  a  de- 
cided talent  for  art,  studying  under  George  Doo  and  George  Lance, 
and  in  the  Royal  Academy  in  London.  Later  he  was  a  pupil  of 
Wappers  in  Antwerp.  His  specialty  was  dead  game  of  all  descrip- 
tions, and  his  works  are  highly  prized. 

Duffield,  Mrs.  William,  wife  of  the  foregoing,  has  been  for  some 
years  one  of  the  lady  members  of  the  Institute  of  Painters  in  Water- 
Colors,  exhibiting,  in  1872,  "  Province  Roses  "  and  "  Primroses  "  ;  in 
1873,  "  Study  of  a  White  Rose  "  ;  in  1876,  "  A  Group  of  Flowers  »  ; 
etc.    She  sent  a  flower-piece  to  the  Paris  Exposition  of  1878. 

Duggan,  Peter  Paul.  (Am.)  Native  of  Ireland.  Died  in  Paris, 
1861.  He  came  to  America  at  an  early  age,  devoting  himself  as  an 
artist  to  drawing  in  crayon,  painting  only  occasionally  in  oil.  His 
portraits  were  delicate  and  truthful.  He  was  Professor  of  Drawing 
in  the  New  York  Free  Academy,  but  was  compelled  to  resign  hi3 
position  and  abandon  work,  by  reason  of  his  delicate  health,  some 
years  before  he  died. 

Dumas,  Michel.  (Fr.)  Born  at  Lyons.  Three  medals  at  Paris 
Salons.  Pupil  of  Ingres  when  very  young.  His  subjects  are  histor- 
ical and  religious,  and  he  has  painted  a  large  number  of  portraits. 
In  1853,  before  he  had  received  his 'first  medal,  the  government  pur- 
chased his  "  Separation  of  St.  Peter  and  St.  Paul."  His  "  Disciples 
at  Emmaus  "  is  in  the  church  of  Saint  Louis  d'Antin.  The  "  Glorifi- 
cation of  St.  Denis"  is  in  the  church  of  Notre-Dame  de  Clignan- 
court.  At  the  Salon  of  1878  he  exhibited  "  Notre-Dame-des-Sept- 
Douleurs." 

Du  Maurier,  George  B.  (Brit.)  Born,  1834.  Educated  in  Paris. 
In  1851  he  went  to  England,  studying  chemistry  ;  later  he  turned  his 
attention  to  art,  and  became  a  pupil  of  Gleyre  in  Paris,  working  there 
for  some  time.  He  settled  finally  in  England,  furnishing  illustrations 
for  Thackeray's  "  Esmond  "  and  other  well-known  English  standard 
works,  as  well  as  for  the  Cornhill  Magazine,  Punch,  etc.  He  sent  to 
the  Paris  Exposition  of  1878  the  originals  of  many  of  his  sketches  for 
Punch. 

Dumilatre,  Alphonse-Jean.  (Fr.)  Born  at  Bordeaux.  Pupil 
of  Cavelier  and  A.  Dumont.    Medal  of  first  class  in  1878,  when  he 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  223 


exhibited  statues  of  Croce-Spinelli  and  Theodore  Sivel,  made  for  the 
tomb  erected  to  the  victims  of  the  catastrophe  of  the  Zenith,  in  the 
cemetery  of  Pere-la-Chaise  ;  also  a  marble  bust  of  Athanase  Coquerel 
fils.    This  sculptor  exhibited  portraits  at  several  previous  Salons. 

Dumont,  Augustin -Alexandre.  (Fr.)  Born  at  Paris  (1801  - 
1 884).  Member  of  the  Institute.  Commander  of  the  Legion  of  Honor. 
This  sculptor  studied  under  his  father,  Jacques-Edme  Dumont,  and 
also  with  Cartellier.  He  took  the  grand  prix  de  Rome  in  1821.  He 
did  not  go  to  Eome  until  1823,  and  remained  seven  years.  While 
there  he  executed  "  Alexandre  studying  by  Night  "  (a  bas-relief  at  the 
Museum  of  Saint-Omer),  "  Love  tormenting  a  Soul  under  the  Emblem 
of  a  Butterfly  "  (purchased  by  the  Luxembourg),  and  a  bust  of  Pierre 
Guerin,  in  one  of  the  Salons  of  the  French  school  at  Rome.  Later 
he  made  two  other  busts  of  the  same  master,  one  for  the  Louvre,  and 
one  for  the  church  of  Saint-Louis  des  Francais  at  Rome.  Since  his 
return  to  France  he  has  executed  a  vast  number  of  works  for  public 
places,  a  list  of  which  cannot  be  given  here  ;  the  following  are  some 
of  the  most  important  (his  works  unite  grace  and  boldness  of  design 
in  a  remarkable  degree)  :  "  Justice,"  for  the  Chamber  of  Deputies  ; 
"  Nicolas  Poussin,"  for  the  Salle  des  Seances  of  the  Institute  ;  "  The 
Genius  of  Liberty,"  on  the  Colonne  de  Juillet ;  statues  of  Francis  I. 
and  Louis  Philippe,  for  the  Museum  of  Versailles  ;  the  statue  of 
"  Napoleon  I.,"  which  was  on  the  Colonne  de  la  Place  Vendome,  over- 
thrown during  the  Commune  ;  a  statue  in  bronze  of  "  Buffon,"  for 
the  city  of  Montbard  ;  "  War,"  "Peace,"  "  Prudence,"  and  "Truth," 
for  the  new  Palais  de  Justice  ;  bust  of  Alexandre  Lenoir,  for  l'Ecole 
des  Beaux-Arts  ;  and  statues  of  "  Sculpture  "  and  "  Architecture,"  for 
the  Pavilion  Lesdiguieres  at  the  Louvre.  At  the  Luxembourg  are, 
"A  Study  of  a  Young  Woman,"  "  Leucothea  and  the  Child  Bac- 
chus," and  a  "  Bust  of  a  Young  Girl  crowned  with  Flowers." 

Duncan,  Edward.  (Brit)  Born  in  London,  1804.  Began  his 
artistic  career  as  an  engraver,  painting  at  the  same  time  occasionally 
in  water- colors,  and  was  one  of  the  original  members  of  the  New  So- 
ciety of  Painters  in  Water-Colors  in  1831.  He  left  that  institution  in 
1848,  when  he  joined  the  Old  Water-Color  Society,  of  which  he  is  still 
an  active  member.  Among  his  later  drawings  may  be  named,  "  Dutch 
Fishing-Boats  in  a  Gale,"  in  1872;  "Returning  from  Market"  and 
several  marine  views,  in  1873  ;  "Fast  Castle  near  Dunbar,"  in  1875  ; 
"  The  Thames  in  Flood,"  in  1877  ;  "  The  Shore  near  Exmouth,  South 
Devon,"  in  1878.  To  the  Society  of  British  Artists  in  1877  he  sent 
"  Prawn -Catchers,  Coast  of  South  Wales."    [Died,  1882.] 

"By  Edward  Duncan  is  a  busy  low-tide  subject,  'Landing  Fish  on  the  Sands  at  Whit- 
by,' to  which  attention  is  called  by  its  atmospheric  beauty,  and  the  extreme  delicacy  of 
its  treatment.  The  theme  is  of  an  ordinary  kind,  but  it  marks  sufficiently  the  power  of 
the  master."  —  Art  Journal,  June,  1873. 

Duncan,  Thomas,  A.  R.  A.    (Brit.)    Born  in  Perthshire  (1807- 


224     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1845).  He  was  a  pupil  of  Sir  William  Allan  in  the  Trustees  Academy, 
succeeding  him  as  Head  Master  of  that  school.  He  painted  portraits, 
historical  and  ideal  subjects,  exhibiting  at  the  Koyal  Scottish  Acad- 
emy, of  which  he  was  an  active  member,  and  at  the  Royal  Academy, 
of  which  he  was  elected  Associate  in  1843.  Among  his  works  are, 
"  Prince  Charles  Edward  entering  Edinburgh  at  the  Head  of  the 
Highland  Clans"  (R.  A.,  1840),  engraved  by  Bacon;  "Charles 
Edward  protected  by  Flora  M'Donald  after  Culloden,"  engraved  by 
Ryall ;  and  "  Jennie  Dean  and  the  Robbers  "  and  "  Anne  Page  invit- 
ing Slender  to  Dinner,"  the  last  two  being  in  the  National  Gallery  in 
Edinburgh.  His  "  Auld  Robin  Gray  "is  in  the  Sheepshanks  Collection. 

Duncan,  Walter.  (Brit.)  Son  of  Edward  Duncan.  He  was  elected 
an  Associate  Member  of  the  Society  of  Painters  in  Water-Colors  in 

1874  or  '75,  contributing,  in  the  latter  year,  "Undine,"  "Rising  from 
the  Well,"  "  The  Sonnet,"  and  "  The  Letter"  ;  in  1877,  "  Love,  Scan- 
dal, and  Politics  "  and  "  The  Sleeper  in  1878,  "  Le  Jardin  d'Amour  " 
and  "Wayfarers." 

Duncan,  Allan.  (Brit.)  Son  of  Edward  Duncan.  Water-color 
painter,  resident  of  London,  exhibiting  at  the  Royal  Academy  and 
elsewhere.  Sent  to  the  Royal  Academy,  in  1878,  "  Porteynon,  South 
Wales";  to  the  Society  of  British  Artists,  same  year,  "Isle worth  on 
the  Thames  "  and  "  The  Old  Farm  on  the  Moor." 

Duncan,  Laurence.  (Brit.)  Water-color  painter,  son  of  Edward 
Duncan  and  brother  of  Walter  and  Allan  Duncan.  He  lives  at  Hen- 
don,  and  sends  occasional  pictures  to  London.  At  the  Royal  Academy 
in  1877  he  exhibited  "  The  Pet  Cat." 

D'Unker  Liitzow,  Karl  Hindrick.  (Swede.)  Born  at  Stock- 
holm (1829  -  1866).  Swedish  court  painter.  Honorary  Member 
and  Professor  of  the  Academy  of  Stockholm.  Gold  medal  at  Amster- 
dam. Studied  at  the  Dusseldorf  Academy  under  K.  Sohn,  and  visited 
Paris  and  Amsterdam.  He  became  disabled  in  his  right  arm,  and  soon 
learned  to  use  his  left  with  great  facility.  Many  of  his  best  works  are 
in  possession  of  the  banker  Dahlgreen  at  Gothenburg.  In  the  National 
Gallery,  Berlin,  is  his  "  Policeman  presenting  a  Prisoner  to  the  Officer 
of  the  Law." 

Dupain,  Edmond  -  Louis.    (Fr.)    Born  at  Bordeaux.    Medals  in 

1875  and  '77.  Pupil  of  Cabanel.  In  1875  he  exhibited  "  Youth 
and  Death  "  ;  in  1877,  "  The  Good  Samaritan"  and  "  SS.  Gervais  and 
Protais  led  to  their  Martyrdom"  ;  and  in  1878,  "  Le  droit  de  sortie, 
a  Bordeaux,  —  seizieme  siecle." 

Dupray,  Louis -Henry.  (Fr.)  Born  at  Sedan.  Medals  in  1872 
and  '74.  Pupil  of  Pils  and  Cogniet.  At  the  Paris  Salon  of  1877  he 
exhibited,  "  Grand  Manoeuvres  of  Autumn"  and  "  Light  Artillery  going 
to  take  Position  "  ;  in  1876,  "  A  Regiment  of  Hussars  in  the  Campaign 
of  1870-71,"  and  "  The  Post  of  the  Market-Place  at  Saint-Denis"  ; 
in  1878,  "  L'arrivee  a  Y  etape,  —  la  queue  de  la  colonne." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  225 


Dupr£,  Jules.  (Fr.)  Born  at  Nantes,  1812.  Officer  of  the  Le- 
gion of  Honor.  As  a  boy  this  painter  studied  design  in  the  porcelain 
manufactory  of  his  father  j  at  length  he  essayed  oil-painting  and 
made  his  debut  at  the  Salon  of  1831,  with  five  landscapes.  He  now 
sends  his  works  to  the  Salons  very  rarely.  In  1867  he  sent  twelve 
pictures  to  the  Exposition  Universal  :  "  Animals  crossing  a  Bridge 
in  Berry,"  "  Forest  of  Compiegne,"  "  A  Sheepfold  in  Berry,"  "  The 
Keturn  of  the  Flock,"  etc.  At  the  Johnston  sale,  "  A  Landscape  " 
(13  by  10)  sold  for  $  1,500.  At  the  Wertheimber  sale,  Paris,  1861, 
"  The  Sluice  "  sold  for  7,100  francs.  At  the  Strousberg  sale,  Paris, 
•  1874,  "  The  Fisherman  "  sold  for  £  520.  At  the  Wilson  sale,  Paris, 
1873,  "  Environs  of  Southampton"  sold  for  £  1,680.  "  A  Landscape  " 
by  Dupre  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston,  and 
another,  belonging  to  Mr.  H.  P.  Kidder,  was  exhibited  at  the  Mechan- 
ics'Fair  in  1878. 

"  Jules  Dupre  became,  almost  from  his  debut,  one  of  the  favorites  in  public  opinion ; 
his  farms,  his  cottages,  his  old  oaks  on  the  borders  of  pools  with  cows  ruminating  about, 
his  plentiful  pastures  where  horses  run  with  flowing  manes,  his  mills  which  profile 
their  silhouettes  on  a  stormy  sky,  have  a  simple  and  truthful  side  which  captivates  all 
the  world.  The  precocity  of  his  success  only  developed  his  activity  ;  he  is  always  at 
work,  and  gives  himself  up  to  incessant  production,  although  he  appears  but  rarely  at  our 
expositions.  ....  One  may  have  more  or  less  sympathy  with  the  works  of  Rousseau 
or  with  those  of  Dupre,  but  these  two  masters  will  remain  incontestably  as  the  two 
grandest  colorists  in  landscape  which  the  contemporaneous  school  has  produced."  — 
Ren6  Menard,  Gazette  des  Beaux-Arts,  March,  1873. 

In  1860  there  was  at  Paris  an  exposition  for  the  benefit  of  artists. 
In  reviewing  it  Theophile  Gautier  said  :  — 

"This  exposition  is  to  Jules  Dupre  a  sort  of  dazzling  debut,  although  his  fame  is 
already  old.  For  a  long  time,  we  know  not  why,  this  great  artist  has  sent  nothing  to  the 
Salon  ;  and  if  he  works,  it  is  in  the  solitude  and  silence  of  the  studio.  The  young  gen- 
eration, who  did  not  see  the  splendid  putting  forth  of  art  which  followed  the  revolution 
of  July,  is  astonished  before  the  pictures  of  Jules  Dupre,  by  this  boldness,  this  zeal, 
and  this  brilliancy.  We  are  no  more  accustomed  to  these  superb  extremes,  to  this  ex- 
cess of  strength,  to  this  overflowing  of  power,  to  these  full-faced  struggles  with  nature. 
This  excessive  scale  dazzles  the  eyes  habituated  to  the  sober  regime  of  gray." 

Dupr£,  L£on  Victor.  (Fr.)  Medals  at  Paris  and  Philadelphia. 
Brother  and  pupil  of  Jules  Dupre.  He  also  paints  landscapes,  and 
frequently  views  on  the  borders  of  rivers.  At  Philadelphia  he  ex- 
hibited "  The  Watering-Place,  —  Cattle,"  and  at  the  Salon  of  1878, 
"  A  Landscape  "  and  "  A  Pond  in  Berry."  [1848-1879.] 

Dupr£,  Giovanni.  (Ital)  Born  at  Siena  (1817-1882).  Chevalier 
of  the  Legion  of  Honor  and  of  the  Order  of  the  Crown  of  Italy.  Asso- 
ciate Member  of  the  Academie  des  Beaux- Arts  at  Paris.  When  twenty- 
five  years  old  he  exhibited  his  statue  of  the  "  Dying  Abel."  Dupre  was 
original  in  his  manner.  He  was  a  fervent  Roman  Catholic,  and  fre- 
quently treated  religious  subjects.  He  also  made  portrait  statues  and 
busts.  The  Cavour  monument  at  Turin,  erected  in  1873,  occupied 
seven  years  in  the  making  of  the  models  alone.  The  celebrated  ped- 
10*  b 


226     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


estal  for  the  porphyry  vase  in  the  Pitti  Gallery  is  by  Dupre,  as  is 
also  the  bas-relief  of  the  "  Kaising  of  the  Cross,"  on  the  facade  of 
Santa  Croce  at  Florence.  Among  his  other  works  are,  "Cain,"  a 
"  Pieta"  (two  statues  in  the  loggia  of  the  Umzi),  and  the  monument 
to  Duke  Camerini. 

Duran,  Carolus.  (Fr.)  Born  at  Lille,  1838.  Chevalier  of  the 
Legion  of  Honor  and  of  the  Order  of  Leopold.  Medal  at  Philadelphia. 
Pupil  of  Souchon.  In  1853  he  went  to  Paris  and  spent  much  time  in 
copying  again  and  again  "  La  Joconde  "  at  the  Louvre.  In  1861  he 
went  to  Eome.  He  lived  six  months  with  the  monks  of  Subiaco  ; 
during  which  time  he  painted  the  "  Evening  Prayer  "  of  the  Salon  of 
1863.  His  first  exhibition  after  he  returned  to  Paris  was  "  The  Vic- 
tim of  Assassination"  (1866),  for  which  he  received  his  first  medal ;  it 
is  in  the  Museum  of  Lille.  But  the  fame  of  Carolus  Duran  rests  on 
his  portraits,  among  which  we  may  name  that  of  Emile  Girardin, 
those  of  his  daughters,  the  equestrian  portrait  of  Mile.  Croizette,  seen 
at  Philadelphia,  etc.  At  the  Luxembourg  is  his  'k  La  dame  au  gant " 
(1869).  At  the  Salon  of  1878  he  exhibited  "Gloria  Mariae  Medicis" 
(a  ceiling  for  a  Salon  at  the  Museum  of  the  Luxembourg),  and  the 
portrait  of  a  lady. 

"  The  wherefore  of  the  grand  success  of  Carolus  Duran  is  easily  explained.  He  makes 
living  beings,  and  he  makes  them  thus  because  he  so  sees  them.  One  feels  that  when 
he  has  a  subject  under  his  eyes,  he  scrutinizes  the  very  soul.  With  a  penetrating  look 
he  seizes  its  dominant  passion,  and  this  becomes  the  point  of  support  for  the  whole 
work.  With  such  a  painter  there  are  no  trickeries,  no  feints,  no  sous-entendres.  All  is 
precise,  definite,  absolute,  —  true,  even  to  cruelty, — and,  by  the  side  of  this  furia, 
what  delicacy,  what  sentiment,  what  grace,  mingled  with  his  dtbordements !  No  one 
paints  children  better  than  he  ;  he  allows  them  mischief  and  fun,  tender  joy  and  ju- 
venile revery.  He  gives  affection  and  solicitude  to  the  strokes  of  his  brush."  —  Eugene 
Montrosieb,  Galerie  Contemporaine,  1876. 

"  The  talent  of  Carolus  Duran  has  the  resounding  sound  of  the  trumpet ;  it  has  also 
its  register  somewhat  extended,  —  the  want  of  suppleness,  and  the  horror  of  graduating 
sounds.  This  painter  excels  in  flourishes,  in  vigorous  and  bold  calls,  that  constitute 
with  him  a  specialty  from  which  the  sympathetic  public  which  surrounds  him  would 
like  to  see  him  emerge.  Carolus  Duran  is  all  en  facade,  his  charms  are  all  exterior,  —  he 
attracts  you,  holds  you  not,  —  and  has  said  all  when  he  has  called  out  to  you.  Heaven 
was  severe  in  refusing  him  some  things,  and  in  other  directions  has  endowed  him 
royally.  Regarding  certain  parts  of  his  painting,  we  are  carried  away  with  the  ease  and 
marvelous  sureness  ;  we  say,  Behold  a  great  master  ;  we  are  dazzled  by  his  daring  and 
harmonious  chirpings,  by  his  brilliant  velvets  and  satins."  —  M.  F.  de  Lagenevais, 
Revue  des  Deux  Mondes.  June,  1875. 

"  Behold  a  painter,  one  of  those  to  whom  we  make  our  obeisances,  even  when  we 
ought  to  criticise.  His  work  is  a  subject  of  controversy,  but  no  one  can  deny  him  an 
astonishing  power  in  color,  an  incomparable  vigor  of  modeling,  a  marvelous  control  of 
ail  the  means  of  his  art  even  in  his  most  dangerous  boldness  ;  and,  above  all,  an  original- 
ity which  subjugates  those  whom  it  is  far  from  charming.  To  what  school  belongs 
Carolus  Duran  ?  Is  he  descended  from  the  Flemish  or  the  Spanish  school,  or  is  he 
related  only  to  himself?  It  is  very  difficult  to  say,  but  it  seems  to  me  that  the  Spanish 
Goya  would  have  painted  thus  if  he  had  not  so  abused  his  black,  and  if  he  had  been  a 
over  of  reality  instead  of  a  fantasaist  and  a  poet."  —  Ernest  Duvergier  de  Hauranne 
Revue  des  Deux  Mondes.  June,  1872. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  227 


Durand,  Asher  B.,  N.  A.  (Am.)  Born  in  New  Jersey,  1796. 
He  studied  engraving  in  the  shop  of  his  father,  a  watchmaker,  and 
was  apprenticed  to  Peter  Maverick,  the  engraver,  in  1812,  becoming 
his  partner  in  1817.  His  "  Declaration  of  Independence,"  after  Trum- 
bull, first  brought  him  into  prominent  notice  as  an  engraver.  He  was 
one  of  the  original  members  of  the  National  Academy  of  Design,  organ- 
ized in  1826,  and  was  on  the  first  Exhibition  Committee.  He  was 
elected  president  at  the  resignation  of  Professor  Morse  in  1845,  a  posi- 
tion he  held  until  1861.  About  1835  he  resolved  to  become  a  painter, 
and  has  since  devoted  himself  to  that  branch  of  the  profession.  Among 
the  better  known  of  his  earlier  works  are,  "  Harvey  Birch  and  Wash- 
ington," "  The  Wrath  of  Peter  Stuyvesant,"  "  The  Capture  of  Andre," 
"  Dance  on  the  Battery,"  "  The  Forest  Primeval,"  and  "  Franconia 
Mountains,"  many  of  which  have  been  engraved.  In  1869  he  ex- 
hibited at  the  National  Academy,  "The  Trysting-Tree,"  belonging 
to  Benjamin  H.  Field,  and  "A  Mountain  Forest";  in  1870,  "  The 
Sketcher"  ;  in  1871,  "  Close  of  Day";  in  1873,  "  Harbor  Island,  Lake 
George";  in  1874,  "Franconia  Notch,"  belonging  to  R.  L.  Stuart. 
Durand's  "  In  the  Woods,"  belonging  to  Jonathan  Sturges,  was  at  the 
Paris  Exposition  of  1867.  To  Philadelphia,  in  1876,  he  sent  "  Studies 
from  Nature,"  "II  Pappagallo,"  "  Kaaterskill  Clove,"  "A  Brook 
Study,"  and  a  portrait  of  Governeur  Kemble.  He  was  commended  by 
the  Judges  for  "  excellence  in  engraving."  His  "  Alpine  View  near 
Meyringen,"  from  the  Leupp  Collection,  was  sold  at  the  Johnston  sale 
for  $625. 

"  Cole  and  Durand  may  properly  be  termed  the  fathers  of  American  landscape.  They 
first  effectually  inspired  the  artistic  mind  with  sympathies  whose  influence  is  still  felt. 
Cole  was  truly  a  poet  in  sentiment,  and  his  simple  landscapes  possess  a  charm  which 
time  does  not  mar.  Durand  likewise  stimulated  into  activity  that  latent  feeling  for  this 
branch  of  art  which  has  become  a  marked  feature  of  the  American  school,  —  if  the  term 
is  admissible, — and  his  rendering  of  landscape  is  extremely  sensitive  and  refined."  — 
Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

"Durand's  'Lake  George  '  [1875]  is  the  production  of  an  octogenarian  whom  American 
art  and  American  artists  honor.  Mr.  Durand  treats  a  landscape  as  a  poet  would  treat 
it.  He  uses  the  majestic  mountains,  the  placid  lakes,  the  forest  trees,  to  express  the  emo- 
tion which  they  have  awakened  in  him  ;  and  he  does  this  so  simply,  modestly,  sincerely, 
skillfully,  with  such  a  delightful  feeling  for  nature  and  for  character,  with  such  an  honest 
pleasure  in  the  harmony  and  beauty  of  forms  and  colors,  with  so  much  quickness  of 
mind,  so  much  catholicity  of  taste,  that  one  is  charmed  by  his  recitals.  If  his  landscapes 
do  more  than  justice  to  the  green  color,  it  is  only  because  he  sees  more  of  these  colors 
than  some  artists  see."  —  New  York  Evening  Post,  November  9,  1877. 

Durand,  Ludovic.  (Fr.)  Born  at  Saint-Brieuc.  Medals  in  1872 
and  '74.  Pupil  of  Toussaint.  At  the  Salon  of  1877  he  exhibited  a  mar- 
ble statue  called  "Free,"  and  one  in  plaster,  "Captive";  in  1876, 
a  marble  portrait  bust ;  in  1875,  a  plaster  statue,  "  Wounded  "  ;  and 
in  1874,  "  Mercury,"  marble  statue. 

Durand,  Simon.  (Swiss.)  Born  at  Geneva.  Medal  at  Paris  in 
1875.     Pupil  of  Menn.    At  the  Salon  of  1877  he  exhibited  "A 


228     ARTISTS  OF  THE  NINETEENTH  CENTURY.. 


Market"  and  "Between  the  Pear  and  the  Cheese"  ;  in  1875,  "A 
Marriage  at  the  Mayoralty  "  and  "Un  bout  de  conduite." 

Durand-Brager,  Jean-Baptiste-Henri.  (Fr.)  Born  at  Dol,  1814. 
Officer  of  the  Legion  of  Honor.  Pupil  of  Gudin  and  Isabey.  He  was 
devoted  to  a  marine  life  by  his  parents,  and  made  voyages  when  very 
young.  He  has  since  traveled  officially  for  the  purpose  of  exploring 
and  making  sketches  in  foreign  countries,  such  as  Saint  Helena, 
Buenos- Ayres,  Uruguay,  and  other  portions  of  South  America,  Mada- 
gascar, Sebastopol,  etc.  His  pictures  are  principally  marine  views. 
Among  them  are  the  "  Combat  of  the  French  Frigate  Niemen  against 
the  English  Frigates  Arethusa  and  Amethyst  "  (1844),  at  the  Museum 
of  Bordeaux,  and  "  Bombardment  and  Taking  of  Mogador  "  (1845), 
at  the  Museum  of  Versailles,  etc.    [Died,  1879.] 

Durant,  Susan  D.  (Brit.)  Died  in  Paris  in  1873.  Educated  in 
France,  and  first  exhibited  at  the  Royal  Academy,  London,  in  1847. 
Was  teacher  to  the  Princess  Louise,  and  has  executed  medallion  por- 
traits (R.  A.,  1866)  and  busts  of  almost  the  entire  Royal  Family  of 
England.  Was  a  constant  contributor  to  the  Royal  Academy,  and 
was  called  by  the  London  Art  Journal  (March,  1873)  "  one  of  our 
most  accomplished  female  sculptors."  Her  bust  of  the  Queen  (R.  A., 
1872)  is  in  the  Middle  Temple,  London,  and  the  "  Faithful  Shep- 
herdess," an  ideal  figure,  executed  for  the  Corporation  of  London,  is 
in  the  Mansion  House  of  that  city.  Among  her  other  works  are 
"  Ruth  "  (R.  A.,  1869),  a  bust  of  Harriet  Beecher  Stowe,  and  monu- 
ment to  the  King  of  the  Belgians  at  Windsor. 

Duret,  Francis  que- Joseph.  (Fr.)  Born  at  Paris  (1804-1865). 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  This 
sculptor  studied  under  his  father,  who  was  a  distinguished  artist  of 
the  Republic  and  Empire  of  his  time.  Later,  the  son  entered  the 
atelier  of  Bosio,  and  in  1823  took  the  prix  de  Rome  at  l'Ecole  des 
Beaux- Arts.  In  1831  he  sent  to  the  Salon  "  Mercury  inventing  the 
Lyre,"  for* which  he  received  a  medal,  and  the  prize  of  the  Widow 
Leprince.  The  statue  was  placed  in  the  Palais  Royal,  and  was  copied 
for  the  Opera.  Among  his  works  are  the  "  Neapolitan  Dancer,"  pur- 
chased by  the  government ;  statue  of  Moliere  (1834),  at  the  Museum 
at  Versailles  ;  "  Chactas  at  the  Tomb  of  Atala  "  (1836),  at  the  Museum 
of  Lyons  ;  several  statues  at  Versailles  ;  "  Venus,"  for  a  fountain  of  the 
Champs  Elysees  ;  "  St.  Gabriel  "  and  a  colossal  "  Christ,"  for  the  Made- 
leine ;  the  baptismal  fonts  of  Notre-Dame  de  Lorette  ;  and  a  statue  of 
"  Justice  "  in  one  of  the  angles  of  the  Bourse.  Duret  was  actively 
employed  in  the  ornamentation  of  the  Louvre  from  1851  to  '56,  and 
has  also  been  engaged  in  many  public  works.  Among  his  last  works 
were  a  "  Statue  of  Law  "  for  the  new  Palace  of  Justice,  and  a  "  Statue 
of  Rachel." 

"  If  Duret  had  lived  in  ancient  times,  he  would  have  been  called  a  statuary  rather  than 
a  sculptor,  because  the  Greeks  designated  by  the  last  word  the  artist  who  cut  his  fig- 


ARTISTS  OF  THE  NINETEENTH  CENTURY  229 


ures  in  the  stone  or  marble;  and  they  called  him  a  statuary  who  prepared  his  figures 
only  for  the  bronze-caster,  who,  in  short,  contented  himself  with  modeling  and  sculp- 
tured not.  Restless,  impatient,  and  nervous,  Duret  worked  little  in  marble,  or  at  least 
not  for  a  long  time,  for  he  was  easily  discouraged,  and  he  had  little  taste  for  handling 
the  chisel.  He  used  all  his  talent,  and  almost  all  his  ambition,  to  form  the  clay,  to 
fashion  it  with  the  finger  and  the  Sbauchoir.  When  he  had  fixed  a  movement,  after 
turning  and  returning  it  , in  a  hundred  ways,  he  modeled  his  figure  in  small  size,  usually 
a  third  of  its  size,  and  neglected  nothing  to  correct  the  form,  to  choose  the  folds,  to 
manage  the  effects  of  light  and  shade,  to  give  signification  to  the  accessories,— in  a  word, 
to  put  spirit  into  matter.  He  was  so  much  occupied  with  the  clay  or  wax  that  he  left 
no  opportunity  to  caress,  to  finish,  or  refine  his  model.  But  this  model  once  made,  he 
abandoned  it  willingly  to  the  practitioner,  if  the  statue  was  to  be  put  in  marble,  to 
which  he  had  a  great  repugnance.  I  have  seen  him  take  the  rasp  to  add  an  accent  of 
expression,  to  soften  one  expression,  or  sharpen  another,  but  this  was  the  work  of  little 
time.  Any  instrument  but  the  ibauchoir  seems  to  burn  his  fingers.  He  had  a  strong  predi- 
lection for  bronze,  because  he  was  sure,  thanks  to  the  perfection  of  the  modern  casting, 
that  his  thought  would  come  out  of  the  hands  of  the  caster  pure  and  unsullied,  without 
change  ;  and  more  lovely  still  when  the  form  was  incorporated  in  a  clear,  soft,  and  pol- 
ished metal  than  when  -he  had  written  it  in  the  dead  and  sad  tone  of  the  clay.  .... 
Yes,  among  so  many  works  marked  with  the  qualities  of  a  purified  taste,  there  are  two 
which  will  always  realize,  as  nearly  as  is  possible,  sculptural  perfection  in  the  sentiment 
of  grace,  —  The  'Dancer'  and  the  '  Mercury.' ....  Had  Duret  produced  but  these  three 
works,  the  '  Mercury,'  the  '  Dancer,'  and  the  '  Victories  of  the  Louvre,'  or  even  but  one 
of  these  sculptures,  which  would  merit  being  called  a  masterpiece,  that  would  suffice,  I 
think,  to  preserve  his  memory  in  the  French  school,  and  to  render  it  impossible  that  he 
should  ever  be  forgotten. "  —  Charles  Blanc,  Les  Artistes  de  mon  Temps. 

Durham,  Joseph,  A.  R.  A.  {Brit.)  Born  in  London  (1821- 
1877).  In  1837  he  was  apprenticed  to  John  Francis,  and  later 
worked  for  some  time  in  the  studio  of  E.  H.  Baily.  In  1848  he 
sent  to  the  Royal  Academy  his  bust  of  Jenny  Lind,  which  attracted 
much  attention.  He  made  many  hundreds  of  copies  of  this  in  marble 
and  plaster.  To  the  Royal  Academy,  in  1856,  he  sent  his  bust  of  the 
Queen,  which  was  presented  to  the  city  of  London  by  a  retiring  Lord- 
Mayor,  and  is  now  in  the  Mansion  House.  Among  his  ideal  works 
are,  "  Trying  the  Lesson,"  in  1865  ;  "  The  Picture-Book,"  in  1867 
(when  he  was  elected  Associate  of  the  Royal  Academy)  ;  "  Leander," 
in  1871  ;  "  A  Dip  in  the  Sea,"  in  1872  ;  "  Grotto  Boy,"  in  bronze,  in 
1877  ;  in  1878,  a  bust  of  Thomas  Webster,  R.  A. 

His  "  Hermione  and  Alastor"  is  in  the  Mansion  House.  He  gained 
a  prize  for  a  memorial  to  commemorate  the  Great  English  Exhibition 
of  1851  ;  is  the  author  of  the  statue  of  Palmerston  in  the  Guild  Hall, 
of  the  bust  of  Hogarth  in  Leicester  Square,  of  the  statues  of  Milton, 
Bentham,  Newton,  and  Harvey,  in  the  London  University,  and  of  the 
Queen  and  Prince  Albert  in  various  parts  of  Great  Britain. 

"We  have  hitherto  known  Mr.  Durham  principally  as  the  author  of  many  fine 
statues  and  of  groups  of  children  at  play,  but  in  his  '  Siren  and  the  Drowned  Leander ' 
he  has  aimed  far  higher,  and  so  successfully  as  leads  us  to  hope  he  will  persevere  in  the 
new  path  into  which  he  has  entered.  His  mind  is  of  a  very  high  order.  Very  few 
sculptors  of  our  age  so  happily  combine  grace  with  power.  In  all  his  productions,  in- 
cluding his  admirable  busts,  there  is  ample  evidence  of  genius."  —  Art  Journal,  Novem- 
ber, 1873. 


230     ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


Duval-le-Camus,  Pierre.    (Fr.)    Born  at  Lisieux  (1790-1854). 

Chevalier  of  the  Legion  of  Honor.  Pupil  of  David,  and,  for  many 
j^ears,  Painter  in  Ordinary  to  the  Duchesse  de  Berri.  His  pictures 
were  highly  finished  ;  many  of  them  have  been  engraved.  Several  of 
his  works  are  in  the  Louvre. 

Duval-le-Camus,  Jules-Alexandre.  (Fr.)  Born  at  Paris,  1817. 
Chevalier  of  the  Legion  of  Honor.  Son  of  the  preceding.  Pupil  of 
Drolling  and  Delaroche.  His  picture  of  "Jacques  Clement"  (1861) 
is  in  the  Luxembourg.  In  1867  he  exhibited  "  The  Martyrdom  of 
St.  Laurence  "  ;  in  1863,  "  St.  Elizabeth  of  Hungary  dispensing  her 
Charities  "  ;  in  1857,  "  The  Flight  into  Egypt "  ;  etc.     [Died,  1878.] 

Duveneck,  Frank.  (Am.)  A  figure-painter,  who  has  studied  in 
Munich  for  ten  or  more  years.  He  was  a  pupil  of  Diez,  and  consid- 
ered one  of  his  best  followers.  He  sent  to  the  National  Academy, 
New  York,  in  1877,  a  portrait  of  Charles  Dudley  Warner  and  "A 
Turkish  Page."  To  the  first  exhibition  of  the  Society  of  American 
Artists,  in  1878,  he  contributed  "  The  Coming  Man  "  and  "  Interior 
of  St.  Mark's,  Venice."  In  1875  he  sent  five  portraits  to  the  Boston 
Art  Club. 

[No  response  to  circular.]    Born  at  Covington,  Ky.,  1848. 

A  picture  by  Duveneck,  called  "  A  Circassian,"  was  presented  by 
Miss  Hooper  to  the  Boston  Museum  of  Fine  Arts.  At  the  Boston 
Mechanics'  Fair,  1878,  were  his  "  Italian  Girl"  and  "  The  Professor," 
the  latter  belonging  to  Dr.  H.  C.  Angell. 

Duverger,  Theophile  Emmanuel.  (Fr.)  Born  at  Bordeaux. 
Medals  in  1861,  '63,  and  '65.  At  the  Salon  of  1877  he  exhibited 
"  The  Grandmother's  Needle "  and  "  An  Alley  in  a  Garden  at 
iWen";  in  1876,  "Too  much  Gratitude";  in  1875,  "A  Child  with 
Fruit  "  and  "  Return  from  Market."  At  the  Johnston  sale  in  New 
York,  1876,  "  Prayer "  (13  by  10)  sold  for  $  320.  At  the  Walters 
Gallery  in  Baltimore  is  "A  Visit  of  Charity  "  by  this  artist,  which  is 
delicately  finished  ;  and  "  News  from  the  Army,"  "  Kept  In,"  and 
"  The  Indiscreet  Chambermaid  "  are  in  the  collection  of  Mrs.  H.  E. 
Maynard  of  Boston.  "  The  Laborer  and  his  Children  "  (1865)  is  in 
the  Luxembourg. 

Dyce,  William,  R.  A.  (Brit.)  Born  in  Scotland  (1806- 1864). 
Entered  the  schools  of  the  Royal  Scottish  Academy  in  1823.  Studied 
for  some  time  in  Rome.  First  exhibited  at  the  Royal  Academy,  in  1827, 
"  Bacchus  nursed  by  the  Nymphs  ";  in  1836,  "The  Descent  of  Venus  "; 
in  1838,  "  Madonna  and  Child";  in  1843,  "Jessica";  in  1844,  "  Joash 
shooting  the  Arrow  of  Deliverance";  in  1850,  "The  Meeting  of 
Jacob  and  Rachel  ";  in  1857,  "  Titian's  First  Essay  in  Coloring  ";  in 
1860,  "The  Man  of  Sorrows."  He  was  made  Associate  of  the  Royal 
Academy  in  1845,  and  Academician  in  1848.  In  1835  he  was  elected 
Associate  of  the  Royal  Scottish  Academy,  and  Member  some  years 
later.  He  was  one  of  the  artists  engaged  in  the  decoration  of  the  Houses 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  231 


of  Parliament,  executed  frescos  in  Osborne  House  and  Buckingham 
Palace,  and  was  Professor  of  Fine  Arts  at  Kings'  College,  London. 
He  wrote  several  pamphlets  on  art  subjects. 

"  As  typical  specimens  of  this  painter,  three  oil-paintings,  amongst  those  shown  at 
the  Academy,  may  be  quoted:  'Madonna  and  Child,'  in  1846 ;  'Jacob  and  Rachel,'  in 
1853;  and  '  Joash  shooting  the  Arrow,'  in  1844.  These  are  thoroughly  and  firmly  drawn, 
and  soberly  colored,  while  the  last-named  rises  to  great  force  in  expression  and  in  ar- 
chfeological  truth.  There  is  also  a  peculiar  tenderness  about  his  style,  severe  as  it  is,  a 
kind  of  reserved  grace,  a  modesty  which  wins  its  place  in  the  beholder's  mind  and  re- 
tains it  It  is,  however,  as  an  historical  painter  in  fresco  that  Mr.  Dyce  is  likely 

to  be  best  remembered.  Here  his  work  has  the  merit  of  leading  the  way  in  a  style 
which  the  French  artists  have  brought  to  noble  results  in  the  churches  of  Paris."  — 
Palgrave's  Essays  on  Art. 

Dyckmans,  Josef  Laurens.  {Belgian.)  Born  at  Lierre  (1811). 
Chevalier  of  the  Order  of  Leopold.  Professor  at  the  Academy  of 
Antwerp.  Pupil  of  Wappers.  The  characteristic  of  this  artist  is 
extreme  finish  ;  of  all  his  pictures  perhaps  the  "  Blind  Beggar "  in 
the  National  Gallery  shows  this  best.  It  was  bought  by  Miss  Jane 
Clark  for  more  than  900  guineas,  and  given  by  her  to  the  National 
Gallery,  London.  Other  pictures  of  his  are,  "  The  Declaration,"  "  The 
Marquise,"  "  The  Embroiderer,"  and  "  Settling  Accounts,"  which  last 
was  sold  at  the  Johnston  sale,  New  York,  1876,  for  $  4,350.  The  fol- 
lowing extract  refers  to  the  "  Blind  Beggar  "  :. — 

"  The  picture  is  painted  in  a  tone  of  color  exceedingly  low,  but  the  whole  is  worked  to 
an  extreme  finish;  the  heads,  in  fact,  are  elaborated  with  a  care  such  as  Denner's  pictures 
show.  In  these  days  of  bright  and  glowing  harmonies  the  eye  is  at  once  struck  with 
the  abstinence  from  color,  which  the  artist  has  made  a  cardinal  principle  in  the  exe- 
cution of  his  work."  —  Art  Journal,  July,  1864. 

Dyer,  Charles  Gifford.  {Am.)  Born  in  Chicago,  1846.  Dis- 
played artistic  talents  as  a  child,  graduated  at  the  Naval  Academy  at 
Newport,  and  saw  some  service  in  the  early  part  of  the  American 
Civil  "War.  By  reason  of  ill-health  he  resigned  his  commission  in  the 
navy  and  went  to  Europe,  resolved  to  become  an  artist.  He  studied 
for  some  time  in  Paris  under  Jacquesson  de  la  Chevreuse,  and  en- 
tered the  Eoyal  Academy  at  Munich  as  a  student  in  1871,  spending 
his  professional  life  so  far  in  those  cities,  with  the  exception  of  six 
winters  passed  in  Kome,  four  summers  in  Venice,  and  prolonged 
working-tours  in  Egypt  and  Syria.  Among  his  more  important 
works  are,  "  St.  Mark's,  Venice,  with  Armenian  Chapel "  (exhibited  in 
Chicago  and  Philadelphia  in  1873,  New  York  in  1874,  and  owned  by 
Walter  P.  Warren  of  Troy,  N.  Y.),  "  On  Linden  when  the  Sun  was 
Low  "  (belonging  to  S.  J.  Anthony),  "  Venice  at  Birth  of  Day  "  (to 
R.  Hay,  Edinburgh),  "  Morning  on  the  Biva,  Venice "  (belonging 
to  John  M.  Moore  of  Philadelphia),  "  Historical  Still-Life  of  the 
Seventeenth  Century"  (exhibited  at  Chicago,  1877,  New  York, 
1878,  in  possession  of  Henry  W.  King,  Chicago),  "  Among  the  Domes 
of  St.  Mark's."  Since  1876  he  has  been  a  pupil  of  David  Neal  at 
Munich. 


232     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  A  very  praiseworthy  study  of  the  interior  of  St.  Mark's  at  Venice  is  by  Mr.  Dyer.  It 
does  not  convey  that  feeling  of  tender,  colored,  scintillating,  and  gold-shot  gloom  which 
is  the  characteristic  of  the  church,  but  for  a  study  in  the  manner  of  a  revelation,  in 
which  all  the  sumptuous  ornament  of  St.  Mark's  is  indicated  under  some  exceptionally 
perfect  condition  of  illumination,  it  leaves  nothing  to  desire." — New  York  Nation, 
March,  1874. 

Eakins,  Thomas.  (Am.)  Born  at  Philadelphia,  1844.  He  re- 
ceived his  art  education  in  the  School  of  Fine  Arts,  Paris,  in  the 
atelier  of  Bonnat,  and  studied  also  under  Gerome  and  the  sculptor 
Dumont.  His  professional  life  has  been  spent  in  the  city  of  Philadel- 
phia, where  he  is  a  teacher  in  the  life  schools  of  the  Academy  of  Fine 
Arts,  and  of  the  schools  of  the  Philadelphia  Artists'  League.  He 
has  also  charge  (1878)  of  the  School  of  Practical  Anatomy  of  that 
city.  He  has  painted  many  small  pictures  of  domestic  scenes  in  the 
early  days  of  America,  of  American  sporting  and  athletic  games) 
studies  of  the  American  negro  character,  etc.,  which  have  been  exhib- 
ited in  the  Paris  Salons,  National  Academy,  New  York,  Water-Color 
Society,  American  Art  Association,  and  elsewhere,  and  which  are 
owned  in  France  and  the  United  States.  Among  the  better  known  of 
his  works  are,  the  portrait  of  Dr.  Brinton  of  Philadelphia,  of  Professor 
Rand  (belonging  to  Jefferson  College),  of  "  William  Rush  carving  his 
Allegorical  Representation  of  the  Schuylkill,"  and  "  The  Surgical 
Clinic  of  Professor  Gross  in  Jefferson  College  "  (now  the  property  of 
that  institution).  To  the  Centennial  Exhibition  of  1876  he  sent  the 
"  Chess-Players,"  several  portraits  in  oil,  and  "  Whistling  for  Plover  v 
and  "  Base-Ball,"  in  water-color. 

Earle,  Thomas.  (Brit.)  (1811  -  1876.)  Studied  in  the  schools  ol 
the  Royal  Academy,  received  a  gold  medal  in  1839,  and  another  prize 
for  the  best  historical  group.  First  exhibited  in  the  Royal  Academy, 
in  1834,  "  The  Angel  of  Innocence."  Among  his  works  are  a  statue 
of  "  George  IV."  in  Trafalgar  Square,  "  Sun  Triumphant,"  "  Hyacin- 
thus,"  "  A  First  Dip  "  (in  1865)  ;  "  Miranda  "  (in  1866)  ;  "  Titania," 
"  Ophelia,"  "Alexander  the  Great"  (rejected  by  the  Royal  Academy 
in  1876),  and  portrait  busts  of  the  Queen  and  other  noted  persons. 

Eastlake,  Sir  Charles  Lock,  R.  A.  (Brit.)  (1793-1865.)  In 
1809  he  entered  the  schools  of  the  Royal  Academy.  A  few  years  later 
he  studied  and  copied  in  the  galleries  of  Paris,  and  in  1815  he  painted 
his  first  important  picture,  a  life-sized  portrait  of  "  Napoleon  on  the 
Bellerophon,"  which  attracted  much  attention  in  England.  After 
spending  some  time  in  study  and  sketching  in  Italy,  Greece,  and  the 
East,  he  returned  to  England,  exhibiting  his  first  picture  at  the  Royal 
Academy  in  1823.  He  was  elected  Associate  in  1827,  Academician  in 
1830,  and  President  of  the  Royal  Academy  in  1850,  when  he  was 
knighted  by  the  Queen.  From  1843  to  '47  he  was  Keeper  of  the 
National  Gallery,  and  in  later  years  was  one  of  its  Trustees  and  Di- 
rectors. He  was  also  for  many  years  Secretary  of  the  Commission 
appointed  for  the  decoration  of  the  New  Houses  of  Parliament 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  233 


Among  his  more  important  works  are,  "  Lord  Byron's  Dream  "  (R.  A., 
1829),  "  Haidee  "  (R.  A.,  1831),  "  Christ  lamenting  over  Jerusalem  " 
(R.  A.,  1841),  and  the  "  Escape  of  the  Carrara  Family  from  the  Duke 
of  Milan"  (R.  A.,  1850  ;  presented  to  the  nation  by  Robert  Vernon, 
and  now  in  the  National  Gallery,  also  in  various  public  and  private 
galleries),  "Pilgrims  in  Sight  of  the  Holy  City"  (1828),  "An  Arab 
selling  his  Captives,"  "  Greek  Fugitives/'  "  Christ  blessing  Little 
Children  "  (engraved  by  Cousins),  etc.  Eastlake  wrote  upon  art  mat- 
ters with  considerable  ability.  His  "  Materials  for  the  History  of  Oil- 
Painting  "  was  published  in  1847  ;  "  Contributions  to  the  Literature 
of  the  Fine  Arts,"  in  1848. 

"  The  mannerism  of  Iris  coloring  [Eastlake's],  and  the  sameness  of  his  female  faces, 
showing  that  he  had  but  one  idea  of  beauty,  could  be  made  evident  only  by  time  ;  and 
at  first  there  was  an  exquisite  charm  in  the  grave  refinement  and  delicacy  of  both  con- 
ception and  execution."  —  Harriet  Martineau's  Autobiography. 

Eaton,  Joseph  O.,  A.  N.  A.  {Am.)  (1829-1875.)  Associate  of 
the  National  Academy,  and  member  of  the  Society  of  Painters  in  Water- 
Colors,  and  of  the  Artists'  Fund  Society.  He  visited  Europe  in  1873. 
Exhibited  at  the  National  Academy  in  1868,  "  Landscape,  —  View  on 
the  Hudson"  ;  in  1869,  "  Moral  Instruction"  and  a  portrait  of  R.  S. 
Gilford  ;  in  1870,  portraits  of  E.  J.  Kuntze  (belonging  to  the  National 
Academy)  and  of  Rev.  George  H.  Hep  worth  ;  in  1871,  "  Dawning 
Maternity"  and  "The  Last  Chapter";  in  1872,  "Greek  Water- 
Carrier"  ;  in  1874,  "  Lady  Godiva."  In  1875,  after  his  death,  was 
exhibited  his  portrait  of  himself  (belonging  to  the  Academy)  and  his 
"  Looking  through  the  Kaleidoscope."  To  the  Water-Color  Exhibi- 
tion of  1869  he  sent  "Vision  of  the  Cross"  ;  in  1871,  "Little  Nell 
and  her  Grandfather"  ;  and  in  1874,  "  The  Two  Pets." 

"  Mr.  Eaton  was  an  effective  portrait-painter,  but  his  most  interesting  pictures  in  this 
specialty  were  those  of  children."  —  Art  Journal,  March,  1875. 

Eaton,  Wyatt.  (Am.)  A  native  of  Canada,  he  was  educated  in  Paris 
under  Gerome,  and  has  occupied  a  studio  in  New  York  for  some  years, 
painting  portraits  and  landscapes  with  figures.  He  sent  to  the  Exhi- 
bition of  the  Society  of  American  Artists  in  1878  a  portrait  of  William 
Cullen  Bryant,  and  was  the  first  Secretary  of  that  organization.  His 
"  Reverie  "(N.  A.,  1875)  and  "  Harvesters  at  Rest"  (Paris  Salon,  1876  ; 
N.  A.,  1877)  were  at  the  Paris  Exposition  of  1878. 

"  For  simplicity,  clearness,  dignity,  and  grace,  this  picture  ['  Harvesters  at  Rest ']  may 
rank  with  the  best  of  its  kind.  Perspective  and  atmosphere  are  equally  good  Sub- 
ject to  the  French  painter,  Millet,  Eaton  has  lost  none  of  his  individuality. "  —  New  York 
Times,  April  3,  1877. 

Ebers,  Emile.  (Ger.)  Born  at  Breslau,  1807.  Studied  at  the 
Academy  of  Diisseldorf.  His  subjects  are  usually  maritime,  but  he 
has  also  painted  scenes  from  military  and  pastoral  life.  He  is  dis- 
tinguished for  his  spirit,  and  for  the  representation  of  comical  situa- 
tions, such  as  "  Contrabands  surprised  by  the  Officers  of  Customs," 


234     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  others  which  represent  struggles  between  officers  of  the  law,  stu- 
dents in  disguises,  peasants  who  refuse  to  pay  taxes,  etc.  In  an- 
other vein  are  his  pictures  of  "A  Woman  saved  from  a  Shipwreck " 
and  "Saint  Goar  preaching  the  Gospel  to  the  Fishermen  of  the 
Rhine." 

Echtermeyer,  Karl.  (Ger.)  Born  at  Cassel,  1845.  Medals  of 
Prussia  and  Saxony,  and  one  at  the  Exposition  of  Vienna.  Pupil  of 
the  Academy  of  Cassel,  he  passed  a  year  in  Munich,  and  then  studied 
under  Hahnel  in  Dresden.  In  1870  he  traveled  in  Italy.  He  is 
now  settled  in  Dresden.  Among  his  works  are  two  caryatides  and  a 
series  of  eight  large  statues  for  the  Gallery  at  Cassel  ;  a  Bacchante 
and  a  satyr  in  sandstone  for  the  new  theater  in  Dresden  ;  a  statue  of 
the  Elector  Frederick  for  the  Royal  Castle  at  Meissen  ;  and  at  the 
National  Gallery,  Berlin,  two  bronze  statues,  "  Dancing  Bacchante " 
and  "Dancing  Faun."  At  Berlin,  in  1876,  he  exhibited  "Greece" 
(marble),  antique  ;  "  Rome "  (plaster),  antique  ;  "  Netherlands " 
(plaster),  Middle  Ages ;  and  "  Germany "  (plaster),  Middle  Ages. 
The  plaster  casts  are  for  the  Royal  Picture- Gallery  at  Cassel.  At 
the  Paris  Exposition,  1878,  he  exhibited  two  statuettes  in  bronze,  be- 
longing to  the  National  Gallery  of  Berlin. 

Eckersberg,  John  Frederick.  (Norwegian.)  Born  at  Drammen 
(1822  - 1870).  Knight  of  the  Orders  of  St.  Olaf  of  Norway  and  of 
Wasa  of  Sweden.  Studied  at  Diisseldorf  under  Schirmer.  Left 
Germany  in  1848,  and  settled  in  Christiana.  In  1850  went  to  Ma- 
deira on  account  of  his  health.  In  1854  returned  to  Christiana,  and 
founded  an  Academy  of  Painting  which  has  since  been  taken  under 
government  protection.  His  landscapes  are  fine.  At  the  Exposition 
of  1867  was  exhibited  his  "  Grand  Panorama  Scene  from  a  Norwegian 
Plateau."  In  the  Gallery  at  Christiana  is  a  large  Norwegian  landscape, 
with  ravines,  and  mountains  with  snow-capped  summits. 

Edmonston,  Samuel.  (Brit.)  Born  in  Edinburgh,  1825.  He 
was  educated  in  the  schools  of  the  Royal  Scottish  Academy,  under 
Sir  William  Allan  and  Thomas  Duncan,  spending  his  professional  life 
in  his  native  city.  He  paints  in  oil  and  water-colors — generally  in 
oil  —  landscapes,  marine  views,  portraits,  and  homely  figure-pieces  of 
Scottish  life,  humorous  and  pathetic  in  character,  exhibiting  at  the  Royal 
Scottish  Academy,  Royal  Academy,  and  elsewhere  in  Great  Britain. 
Among  his  works  may  be  mentioned,  "  Music  hath  Charms  "  (at  the 
Royal  Academy,  1862),  "  The  Stuff  our  Sailors  are  made  of,"  "  The 
Volunteers,"  "The  Highland  Fair,"  "The  Bathing  Pool,"  "The 
Doubtful  Contributor,"  "Grandfather's  Story  of  his  Leg,"  "Civil 
War,"  "The  Tower  of  St.  Regulus,  St.  Andrews,"  "The  Bass 
Rock,"  "Three  Fishers,"  etc.  His  "Morning  of  the  12th  of 
August"  belongs  to  the  Earl  of  Dalhousie  ;  "The  Orphans,"  to  the 
Earl  of  Rosslyn  ;  a  series  of  illustrations  of  "  Duncan  Grey  "  in  oil, 
to  P.  Maclaggan,  M.  P.  ;  "  The  Two  Swords,"  to  Sir  James  Fal- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  235 


shaw.  "  On  Board  the  Warrior  in  Time  of  Peace  "  was  bought  by 
the  Royal  Association  for  the  Promotion  of  the  Fine  Arts. 

Edmonds,  Francis  W.f  N.  A.  {Am.)  Born  in  Hudson,  N.  Y. 
(1806-  1863).  He  evinced  a  strong  tendency  for  art  as  a  youth,  but 
was  brought  up  in  a  New  York  bank,  holding  the  position  of  cashier 
for  some  time  in  an  institution  of  that  kind  in  his  native  city,  and  in 
several  banks  of  the  metropolis  until  1855.  He  was  one  of  the  or- 
ganizers of  the  Bank-Note  Engraving  Company,  now  known  as  the 
American  Bank-Note  Company  ;  and  his  "  Barn- Yard,"  "  Sewing- 
Girl,"  "Grinding the  Scythe," and  "Mechanic"  were  upon  the  several 
notes  printed  by  that  establishment.  During  his  entire  business 
career  he  was  devoted  to  art,  practicing  it  diligently  in  his  leisure 
hours.  He  had  no  regular  art  education  except  such  as  was  gained 
by  observation  during  a  visit  to  Italy  in  1840.  He  first  exhibited  in 
1836,  under  an  assumed  name,  "  Sammy  the  Tailor."  In  1838  he 
was  elected  an  Associate  of  the  National  Academy,  and  Academician 
a  few  years  later.  He  was  a  Trustee  of  the  National  Academy,  and 
at  one  time  its  Recording  Secretary.  Among  the  better  known  of  his 
pictures  are,  "  Dominie  Sampson,"  in  1837  ;  "  The  Penny  Paper,"  in 
1839  ;  "Sparking,"  in  1840;  "Stealing  Milk,"  in  1843  ;  "Vesuvius" 
and  "Florence,"  in  1844  ;  "  The  Sleepy  Student,"  in  1846  ;  "  Trial  of 
Patience,"  in  1848  ;  "  The  Speculator,"  in  1852  ;  "  Taking  the  Cen- 
sus," in  1854;  "The  Thirsty  Drover,"  in  1856;  " Bargaining,"  in 
1858  ;  "The  New  Bonnet,"  in  1859.  His  "  Gil  Bias  and  the  Arch- 
bishop "  (from  the  collection  of  the  late  C.  M.  Leupp),  at  the  Johns- 
ton sale  in  1876,  brought  $  250. 

Edwards,  Edwin.  (Brit.)  Born  in  County  Suffolk,  1823.  Land- 
seape-painter  and  etcher.  He  exhibits  frequently  at  the  Royal  Acad- 
emy. Among  his  works  are,  "  Under  the  Chestnuts,"  "  Lynmouth 
Harbor,"  "Down  to  Quay  Clovelly,"  "  Penberth  Cove,  Cornwall," 
"  Sunrise  before  Rain,"  "  The  Druids,  Oakley  Park,"  "  The  Song  of 
the  Sea,"  "Walberswick,"  etc.    [Died,  1879.] 

"  '  Gainsboro'  Lane '  is,  in  our  opinion,  one  of  the  most  successful  studies  from  na- 
ture in  this  year's  exhibition  [R.  A.,  1875].  Mr.  Edwards  here  gives  a  very  clever  painting 
of  a  double  row  of  quaint  old  pollards  sheltering  a  lane  by  the  river  Oswell,  a  spot 

sacred  to  the  memory  of  Gainsboro'  The  skillful  intertwining  of  the  leafless 

branches  of  the  old  pollards  is  exceptionably  good,  and  stamps  the  painting  as  one  of 
great  and  original  merit."  —  Art  Journal,  June,  1875. 

Egg,  Augustus  L.,  R.  A.  (Brit.)  Born  in  London  (1816  - 1863). 
Entered  the  schools  of  the  Royal  Academy  in  1836,  exhibiting  soon 
after,  at  the  British  Institution  and  the  Royal  Academy,  "  The  Devil 
on  Two  Sticks,"  "  Katherine  and  Petruchio,"  "  Buckingham  Re- 
buffed," etc.  He  was  elected  an  Associate  of  the  Royal  Academy  in 
1848,  when  he  exhibited  "  Elizabeth  discovering  that  she  is  no  longer 
Young,"  and  Academician  in  1861.  Among  the  better  known  of  his 
works  are,  "  The  Life  and  Death  of  Buckingham,"  "  The  Night  be- 


236     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


fore  Naseby,"  "Madame  de  Maintenon  and  Scarron,"  "Past  and 
Present,"  and  "  The  First  Meeting  of  Catherine  and  Peter  the  Great." 
His  "  Devil  on  Two  Sticks  "  (in  the  Vernon  Collection)  is  now  in  the 
National  Gallery,  London.  His  "Launce's  Substitute  for  Proteus' 
Dog,"  at  a  sale  at  Christie's  in  1869,  brought  600  guineas. 

Egly,  William.  {Brit.)  Born  in  Doncaster  (1798-  1870).  Devoted 
to  mercantile  pursuits,  he  studied  art  in  his  moments  of  leisure,  and 
was  entirely  self-taught.  He  finally  became  a  successful  and  fash- 
ionable portrait-painter,  exhibiting  first  at  the  Koyal  Academy  in 
1824,  and  regularly  until  his  death.  Among  his  sitters  have  been 
Yates  the  actor,  J.  H.  Foley,  K.  A.,  the  children  of  Don  Carlos  of 
Spain,  and  many  members  of  distinguished  families  of  England.  His 
works  are  chiefly  in  miniature,  and  he  was  particularly  happy  in  the 
portrayal  of  children. 

Ehninger,  John  W.,  N.  A.  {Am.)  Born  in  New  York,  1827. 
Graduate  of  Columbia  College.  In  1847  he  went  to  Paris,  entering 
the  studio  of  Couture,  and  studying  and  painting  for  some  years 
in  the  different  art-centers  of  the  Continent.  He  was  elected  full 
member  of  the  National  Academy  in  1860.  The  Art  Union  Engrav- 
ings of  some  of  his  earlier  paintings  executed  in  Paris  first  brought 
him  into  notice  in  his  own  country  as  a  promising  artist.  Among  the 
better  known  of  his  works  are,  "  New  England  Farm- Yard,"  "  Yan- 
kee Peddler,"  "  Love  Me,  Love  my  Horse,"  "  The  Foray,"  "  Christ 
healing  the  Sick,"  and  "  Death  and  the  Gambler."  To  the  National 
Academy  of  1867  he  contributed  an  "  Autumnal  Landscape  ";  in  1871, 
"A  Monk"  ;  in  1877,  "Vintage  in  the  Valtella,  Italy";  in  1878, 
"  Twilight  from  the  Bridge  of  Pau  (Basses  Pyrenees)." 

He  has  lived  in  Saratoga,  N.  Y,  during  the  last  few  years,  and  his 
work  is  rarely  seen  on  the  Academy  walls.  He  has  made  many  suc- 
cessful and  popular  wood-engravings  for  various  books,  and  at  one 
time  furnished  cuts  for  an  illustrated  London  journal. 

"  Ehninger  is  one  of  the  most  accomplished  draughtsmen  among  our  American  artists. 
His  pencil  works  wonders,  and  his  series  of  illustrations  of  John  Gilpin  have  been  much 
admired  at  home  and  abroad. "  —  Tuckerman's  Book  of  the  Artists. 

Ehrmann,  Franpois  Emile.  (Fr.)  Born  at  Strasbourg,  1833. 
Medals  in  1865,  '68,  and  '74.  He  studied  at  the  Gymnasium  of  Stras- 
bourg under  a  skillful  engraver  named  Schuler,  who  gave  him  good 
principles  in  taste  and  in  manner  of  work.  At  seventeen  years  of 
age,  having  traveled  a  few  months,  Ehrmann  announced  to  his  family 
his  desire  of  becoming  a  painter,  but  their  opposition  was  such  that 
he  compromised  with  them  and  entered  the  service  of  an  architect. 
After  three  years  he  entered  the  school  of  the  Beaux- Arts  at  Paris, 
and  was  also  in  the  ateliers  of  Gilbert  and  Questel.  In  the  design  of 
ornament  he  took  a  medal,  but  showed  himself  impractical  in  the 
more  technical  parts  of  architecture.  At  length  he  took  all  his  draw- 
ings and  went  to  Robert  Fleury  for  his  advice.  This  artist  pronounced 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  237 


him  well  qualified  for  a  painter,  and  so,  abandoning  architecture,  he 
entered  the  atelier  of  Gleyre,  who  was  a  fine  teacher.  For  two  years 
he  kept  young  Ehrmann  designing  and  redesigning  from  the  same 
models,  insisting  that  he  should  not  yet  attempt  colors.  In  1860 
Ehrmann  sent  a  picture  to  the  Salon  which  was  refused,  and,  discour- 
aged, he  went  to  Italy.  Here  he  passed  two  years,  sketching  from  all 
masters  and  falling  in  love  first  with  one  style  and  then  another. 
After  his  return  to  Paris  he  devoted  himself  seriously  to  his  art,  and 
in  1865  exhibited  "  The  Siren  Fishing,"  which  gained  his  first  medal. 
It  was  placed  in  the  Museum  of  Strasbourg,  and  burned  in  1870.  "  A 
Conqueror  "  was  purchased  by  the  Luxembourg,  and  sent  to  the  Gobe- 
lins to  be  copied  in  tapestry.  "  Ariadne  abandoned  by  Theseus,"  a 
water-color  (1873),  is  at  the  Luxembourg.  His  pictures  are  not  hur- 
ried ;  he  awaits  inspiration,  and  executes  slowly  and  carefully.  In 
1877  he  exhibited  "  The  Muses  "  from  a  ceiling  painting  in  the  Grande 
Chancellerie  of  the  Legion  of  Honor  ;  in  1875,  "  Venus  passing  before 
the  Sun"  ;  and  in  1874,  "Greece,  Rome,  The  Barbarians  and  the 
Middle  Ages,"  part  of  a  frieze  representing  the  History  of  Art  in  the 
hotel  of  M.  Girard.  Many  of  his  pictures  are  surrounded  by  a  bor- 
der of  Cupids,  foliage,  vines,  etc.  Without  a  very  rich  imagination 
this  painter  has  so  cultivated  himself  that  he  produces  charming  rep- 
resentations of  subjects  often  treated  before,  but  which  he  brings  out 
in  an  original  manner,  such  as  "  The  Fates  "  and  "  The  Fountain  of 
Youth,"  which  are  most  pleasing  pictures.  Victor  Champier,  in 
"  L'Art,"  1876,  says  of  Ehrmann  :  — 

"I  believe  that  one  may  compare  an  artist  of  this  nature  to  a  dreamy  musician,  to  a 
graceful,  tranquil  melodist,  endowed,  if  you  wish,  with  a  charming  sensibility,  but  not 
pathetic,  and  never  forcing  you  to  cry  out  from  the  heart. " 

Eichens,  Frederic  Edouard.  (Prussian.)  Born  at  Berlin,  1804. 
Member  of  the  Academy  at  Berlin.  Medal  at  Paris,  1842.  This  en- 
graver first  studied  under  Buchhorn  at  Berlin,  and  obtained  several 
academical  honors.  He  then  traveled  in  Russia,  England,  France, 
and  Italy.  At  Paris  he  studied  under  Forster  and  Richomme,  at  Parma 
under  Toschi,  at  Florence  he  made  engravings  after  Raphael's  "Vision 
of  Ezekiel,"  and  at  Venice  after  "  Titian's  Daughter "  ;  these  plates 
largely  established  his  reputation.  After  his  return  to  Berlin  he  was 
much  honored  as  a  teacher  of  his  art.  His  works  are  numerous. 
Some  of  his  engraved  portraits  are  fine.  Among  them  are  those  of 
Toschi  and  the  Emperor  of  Germany. 

Eichens,  Philippe  Hermann.  (Prussian.)  Born  at  Berlin,  1811. 
Four  medals  at  Paris  for  engraving  and  lithography.  Brother  of  the 
preceding.  He  also  studied  at  Berlin  and  Paris,  and  traveled  in  Italy. 
He  is  one  of  the  first  lithographers  of  Berlin.  In  1877  he  exhibited 
at  Paris  an  engraving  after  Weisz,  "The  Betrothal  Ring"  ;  in  1868, 
"A  Haymaker,"  after  Brochart ;  in  1863,  "  The  Daughter  of  Jarrus," 
after  Richter ;  and  "  La  Montre,"  after  Toulmouche. 


238     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Elliott,  Charles  Loring.,  N.  A.  (Am.)  Born  in  the  State  of  New- 
York  (1812  -  1868).  Son  of  an  architect.  As  a  boy  Elliott  was  a  clerk 
in  Syracuse,  N.  Y.,  but  became  a  pupil  of  Trumbull,  painting  por- 
traits in  the  western  part  of  the  State  while  still  a  young  man,  and 
opening  a  studio  in  New  York  City  early  in  his  career.  He  was  elected 
Associate  of  the  National  Academy  in  1845  and  Academician  in  1846. 
He  is  said  to  have  painted  more  than  seven  hundred  portraits  of  emi- 
nent people,  among  them,  Fitz-Greene  Halleck,  James  E.  Freeman, 
N.  A.  (belonging  to  the  Academy),  Matthew  Vassar  (belonging to  Vassar 
College),  Louis  Gaylord  Clark,  W.  W.  Corcoran  of  Washington,  Fletcher 
Harper,  James  T.  Brady,  Fenimore  Cooper,  Governors  Seymour  and 
Hunt  (in  City  Hall,  New  York),  Erastus  Corning  (in  State  Library, 
Albany),  and  A.  B.  Durand,  N.  A.  (sold  at  the  Johnston  sale  to 
the  Corcoran  Gallery,  Washington,  for  $300).  Many  of  his  works 
were  at  the  National  Academy  in  the  winter  exhibition  of  1868-69, 
including  "  Don  Quixote,"  "FalstafF"  (belonging  to  Vassar),  "Andrew 
Van  Corlear  the  Trumpeter  "  (belonging  to  W.  T.  Walters  of  Balti- 
more), and  "Falstaff"  (belonging  to  L.  Jerome),  his  own  portrait 
(belonging  to  M.O.  Roberts),  and  "  The  Head  of  Skaneateles  Lake" 
(said  to  have  been  the  only  landscape  he  ever  painted,  and  belonging 
to  F.  N.  D.  Horton). 

"  The  vigor  and  truth  of  his  best  likenesses,  the  character  and  color  which  distin- 
guish them,  are  such  as  to  win  the  respect  and  interest  due  to  a  master  There 

is  not  such  a  vigorous  pencil  among  our  living  limners.  ....  No  one  can  mistake  the 
rich  tints  and  vigorous  expression,  the  character  and  color,  which  distinguish  Elliott's 
portraits."  —  Tuckerman's  Book  of  the  Artists. 

"Elliott has  a  Salvatoresque  touch  of  brush,  and  brings  forth  the  coarser  elements  of 
his  sitters."  —  Jarves,  Art  Idea. 

Elmore,  Alfred,  R.  A.  (Brit.)  Born  in  Ireland  (1815-1881).  Stud- 
ied in  the  British  Museum,  and  entered  the  Royal  Academy  schools  in 
1832,  exhibiting  his  first  picture,  "  Scenes  from  an  Old  Play,"  in  1834. 
He  painted  for  some  time  in  Paris,  visited  other  continental  art  cities, 
and  spent  some  two  years  in  Borne.  He  returned  to  England  about 
1844,  and  was  elected  Royal  Academician  in  1856.  Among  his  earlier 
works  are,  "  Rienzi  in  the  Forum  "  (1844),  and  "  The  Invention  of  the 
Stocking  Loom,"  a  work  frequently  engraved.  In  1860  he  exhibited 
at  the  Royal  Academy,  "  The  Tuileries,  June  20,  1792  "  ;  in  1861, 
"  Marie  Antoinette  in  the  Temple "  ;  in  1862,  "  The  Invention  of 
the  Combing- Machine "  ;  in  1864,  "Within  the  Convent-Walls";  in 
1868,  "Ishmael";  in  1870,  "Louis  XIII.  and  Louis  Quatorze"; 
in  1872,  "Across  the  Fields";  in  1873,  "After  the  Expulsion"; 
in  1874,  "Mistress  Hettie  Lambert,"  from  "The  Virginians";  in 
1875,  "Ophelia";  in  1877,  "Mary  Queen  of  Scots  and  Darnley  at 
Jedburgh";  in  1878,  "Pompeii,  A.  D.  79"  and  "John  Alden  and 
Priscilla."  Three  of  Elmore's  pictures,  "Two  Women  shall  be 
grinding  at  the  Mill "  (belonging  to  Sir  John  Bowring),  "  On  the 
House-Tops,"  and  "Lenore,"  were  at  the  American  Exhibition  at 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  239 


Philadelphia  in  1876.  "  Lucretia  Borgia/'  "Mary  Stuart  and  Darnley," 
"After  the  Fall,"  and  "  Lenore  "  were  at  the  Paris  Exposition  of  1878. 

"  Mr.  Elmore  hardly  comes  up  to  the  power  shown  in  his  '  Lucretia  Borgia'  of  last 
year  [1863]  by  the  return  which  he  makes  now  to  his  favorite  hunting-ground,  the  clois- 
ter. '  Within  the  Convent  Walls'  [R.  A.,  1864],  although  not  so  brilliant  an  opportunity 
for  color,  is,  however,  a  graceful  and  pleasing  work,  and  painted  with  a  greater  complete- 
ness than  the  artist  showed  in  former  days."  —  Palgrave's  Essays  on  Art. 

"  Elmore  has  a  style  of  subject  and  treatment  that  is  very  winning." —  Benjamin'* 
Contemporary  Art  in  Europe. 

Elsholtz,  Ludwig.  (Ger.)  Born  at  Berlin  (1805  -  1850).  Stud- 
ied  at  the  Berlin  Academy,  and  under  Franz  Kriiger.  Genre  and 
military  painter.  At  the  National  Gallery,  Berlin,  is  his  "  Beginning 
of  the  Battle." 

Ender,  Thomas.  (Ger.)  Born  at  Vienna  (1793  - 1875).  Professor 
of  Landscape- Painting  at  the  Vienna  Academy.  Studied  at  the  same 
Academy.  The  Archduke  John  and  the  Prince  Metternich  were  his 
patrons,  and  by  their  influence  he  was  appointed  artist  of  a  Brazilian 
expedition  in  1817,  from  which  he  brought  back  more  than  seven 
hundred  water-color  drawings  and  sketches  ;  these  are  mostly  at 
Vienna.  From  1829  to  '33  he  was  in  Italy.  His  works  are  charac- 
terized by  accurate  drawing,  strong  coloring,  and  delicate  handling. 
At  the  National  Gallery,  Berlin,  is  his  "  Italian  Wood  Chapel." 

Engrand,  Georges.  (Fr.)  Born  at  Aire,  Pas-de-Calais.  Pupil 
of  Cavelier.  Medal  of  the  third  class  at  the  Salon  of  1878,  where  he 
exhibited  "  Arion,"  a  plaster  group. 

Enhuber,  Carl  von.  (Ger.)  Born  at  Hof  (1811  -  1867).  Mem- 
ber of  the  Academy  of  Munich,  where  he  had  studied.  At  first  he 
affected  animal  subjects,  but  became  a  genre  and  military  painter. 
He  studied  the  works  of  Metzu  and  Terburg.  He  illustrated  the  joys 
and  sorrows  of  every-day  life  in  a  masterly  manner.  In  his  youth  he 
spent  some  time  in  the  Pies  Valley,  and  his  best-known  pictures  are 
of  the  life  of  the  people  there,  in  connection  with  the  stories  of  Mel- 
chior  Meyr.  At  the  National  Gallery,  Berlin,  is  his  "  Keturn  of  a 
Volunteer  of  the  Tailor's  Guild  from  his  Duty."  At  the  Leipsic  Mu- 
seum are  six  of  his  pictures  of  scenes  in  the  "  Erzahlungen  aus  dem 
Hies "  of  Meyr.  Among  his  other  works  are,  "  The  Interrupted 
Card-Party,"  "The  Court-Day,"  "  The  Golden  Wedding,"  "The  Rob- 
ber," etc. 

Enneking,  John  J.  (Am.)  Born  at  Minster,  Ohio,  1841.  He 
received  his  first  lessons  in  drawing  at  St.  Mary's  College  in  Cin- 
cinnati, under  Bishop  Rosencrans,  then  principal  of  that  institution. 
At  the  outbreak  of  the  American  Civil  War,  Enneking  entered  the 
United  States  army  and  served  about  a  year.  In  1865  he  went  to 
Boston,  where  he  was  engaged  in  mercantile  pursuits.  In  1867  he 
took  lessons  in  pastel  from  Mrs.  Walters  in  Boston,  and  went  to  Eu- 
rope in  1872.  After  some  months  spent  in  travel,  he  settled  in  Paris, 
and  studied  during  two  years  under  Bonnat,  turning  his  attention  to 


240    ARTISTS  OF  THE  NINETEENTH  CENTURY. 


figure-painting.  Later  he  studied  landscape  under  the  advice  of 
Daubigny.  He  returned  to  Boston  in  1874,  and  at  present  occupies 
a  studio  in  that  city.  To  the  Exhibition  at  Philadelphia,  in  1876, 
he  sent,  "  Moonlight  on  the  Giudecca,  Venice."  His  "  Freshly  Picked," 
belonging  to  Mrs.  E.  E.  Slack,  and  "  Drove  of  Cattle  on  a  November 
Day,"  were  at  the  Mechanics'  Fair,  Boston,  in  1878.  Mrs.  John  W» 
James  of  Boston  owns  two  large  and  several  small  pictures  by  En  * 
neking.  Of  them  "  The  Obersee,"  which  has  been  much  admired,  is 
generally  considered  this  artist's  best  work.  The  other  large  painting, 
a  farm-yard  scene  in  France,  contains  many  figures.  His  works  are 
frequently  exhibited  at  the  rooms  of  the  Boston  Art  Club. 

Epinay,  Cavaliere  Prosper  E.  d\  (African-English.)  Born  on  the 
island  of  Mauritius.  He  is  a  resident  of  Rome.  Among  his  patrons 
is  the  Prince  of  Wales.  He  is  a  pupil  of  Dantan  and  M.  Amici,  and 
a  frequent  exhibitor  at  the  Paris  Salons.  To  that  of  1874  he  sent 
"The  Golden  Belt"  (statue,  marble)  ;  in  1875,  "  L'Enfaut  Spartiale" 
(statue,  bronze)  ;  in  1876,  "David"  (statue,  marble),  belonging  to 
the  Count  P.  Strogonoff,  and  "  The  Bride  of  Abydos,"  belonging  to 
Prince  P.  Borghese ;  in  1877,  portrait  busts  (in  marble)  of  the  Car- 
dinal Berardi  and  of  the  Count  R.  Cahen  ;  in  1878,  "  Child  in  a  Net" 
(statue,  marble).  "  The  Youthful  Hannibal,"  by  this  artist,  was  at 
the  Philadelphia  Exposition  of  1876. 

Escosura,  Ignace  de  Leony.  (£p.)  Born  in  the  Asturias .  Com- 
mander of  the  Order  of  Isabella  the  Catholic.  Chevalier  of  the  Orders 
of  Charles  III.  of  Spain  and  of  Christ  of  Portugal.  Pupil  of  Gerome 
in  Paris.  His  pictures  are  interiors  with  groups,  representing  the 
scenes  of  older  times.  They  are  very  attractive  in  color,  of  extreme 
finish,  and  very  much  admired.  At  the  Oppenheim  sale  in  Paris, 
1871,  "  An  Unexpected  Visit  "  sold  for  3,120  francs.  At  the  Johnston 
sale  in  New  York,  1876,  "  The  Quarrel  of  the  Pets  "  (7  by  9)  sold  for 
$  1,000.  In  1870  this  artist  exhibited  at  the  Salon  "  The  Friends  of 
the  Painter,  —  Time  of  Louis  XIII."  and  "The  Irreconcilables,  —  Time 
of  Louis  XV.  "  ;  in  1869,  "  The  Atelier  of  Velasquez  "  and  "  Lucretia 
Borgia  at  Venice"  ;  in  1868,  "The  Gallery  of  Philip  IV.  at  the 
Prado  "  and  "  Murillo  with  the  Capuchins  "  ;  in  1867,  "  Philip  IV. 
presenting  Rubens  to  Velasquez  "  and  "  One  of  the  Body-Guard, " 
etc.  At  the  London  Academy  in  1870  he  exhibited  "  Going  out  from 
the  Audience." 

At  the  Museum  of  Fine  Arts,  Boston,  is  the  "Reception  of  the 
Ambassador,"  belonging  to  T.  Wigglesworth.  "  The  Convalescent 
Prince  "  is  in  the  gallery  of  Mr.  T.  R.  Butler  of  New  York. 

"  His  productions  are  uneven  in  merit :  some  of  them  are  elaborately  finished  ;  others 
of  them  approach  coarseness  ;  none  of  them  display  a  deep  insight  into  character  or  a 

wealth  of  thought  or  passion  This  artist  has  painted  a  number  of  out-door  garden 

scenes  which  discover  considerable  nicety  of  feeling  for  sunlit  harmonies  of  color,  which 
are  simple  in  motive  and  not  destitute  of  sentiment  or  strength.    But  from  a  modern 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  241 


Spaniard  and  a  pupil  of  Gerome  surpassing  tenderness  of  conception  is  not  to  be  ex- 
pected."— Art  Journal,  July,  1878. 

Etex,  Antoine.  (Fr.)  Born  at  Paris,  1808.  Chevalier  of  the 
Legion  of  Honor.  Descended  from  a  family  of  artists,  he  early  im- 
bibed a  love  for  their  pursuits.  He  frequented  the  ateliers  of  Dupaty 
and  Pradier,  and  studied  with  Ingres  and  Duban.  He  went  to  Italy 
in  1830,  having  drawn  the  second  prize  at  l'Ecole  des  Beaux- Arts. 
After  his  studies  in  Rome,  he  traveled  in  Algeria,  Corsica,  Spain, 
England,  and  Germany.  He  made  his  debut  at  the  Salon  of  1833 
with  a  colossal  representation  of  Cain.  Thiers  was  so  pleased  with 
the  spirit  and  boldness  of  this  work  that  he  commissioned  him  to 
execute  two  groups  for  the  Arc  de  Triomphe.  His  tomb  of  Gericault 
won  for  him  the  decoration  in  1841.  Etex  has  been  also  an  engraver, 
painter,  and  architect.  Among  his  statues  are,  "  Hero  and  Leander," 
at  the  Museum  of  Caen  ;  "  Blanche  of  Castile,"  at  Versailles  ;  "  Eury- 
dice,a  Dryad  "  (1853),  and  "  Saint  Benoit"  (1865),  at  the  Luxembourg; 
"  St.  Augustine,"  at  the  Madeleine  ;  etc.  He  made  also  many  portrait 
statues  and  busts.  As  a  painter  he  executed  some  portraits  and  such 
subjects  as  "  Joseph  explaining  the  Dreams  to  his  Brothers/'  "  The 
Ancient  Slave,"  "  The  Modern  Slave,"  "  Dante  and  Beatrice,"  etc.  His 
water-colors,  pastels,  and  engravings  are  numerous.  As  an  architect 
he  has  made  plans  for  some  important  works,  and  he  has  also  written 
political  articles  and  critiques  of  art  for  journals  and  other  publications. 
At  the  Salon  of  1878  he  exhibited  Daubree  and  Berry er  (marble  busts). 

Etty,  William,  R.  A.  (Brit.)  (1787  -  1849.)  Served  an  appren- 
ticeship to  a  printer  in  Hull,  moving  to  London  in  1806,  when  he 
became  a  pupil  of  Sir  Thomas  Lawrence,  entering  the  schools  of  the 
Royal  Academy  the  following  year.  His  pictures  were  rejected  for 
many  reasons  ;  his  first  exhibited  work,  "  Telemachus  and  Antiope," 
appearing  at  the  Royal  Academy  in  1811  ;  and  his  second,  "The 
Coral-Finders,"  in  1820.  In  1822  he  visited  Italy,  studying  in  Ven- 
ice, and  being  elected  a  member  of  the  Academy  there.  He  returned 
to  London  in  1824,  when  he  was  elected  an  Associate  of  the  Royal 
Academy,  exhibiting  "  Pandora  crowned  by  the  Seasons."  He  was 
made  an  Academician  in  1828.  Among  his  works  the  following 
were  deemed  the  best  by  Etty  himself :  "  The  Combat,"  "  Benaiah, 
David's  Chief  Captain,"  "  Ulysses  and  the  Sirens,"  "  The  Wages  of 
Sin  is  Death,"  "  Joan  of  Arc,"  and  "  Judith."  Eleven  of  his  pictures 
are  at  the  National  Gallery,  London,  including  "The  Dangerous 
Playmate,"  "Christ  and  Mary  Magdalene,"  "The  Bather,"  "The 
Lute-Player,"  "  Youth  at  the  Plow  and  Pleasure  at  the  Helm,"  and 
"  The  Duel."  One  hundred  and  thirty  of  his  works  were  exhibited 
in  London  in  the  year  of  his  death,  attracting  great  attention,  and 
his  sketches  when  sold,  some  time  later,  realized  more  than  £5,000. 
His  "  Pluto  carrying  off  Proserpine,"  at  the  Gillott  sale  in  1872, 
brought  1,000  guineas. 

.11  p 


242     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Etty  was  in  every  respect  one  of  the  most  distinguished  painters  of  the  English 
school,  but  more  especially  as  a  colorist,  if  not  surpassing,  at  least  equaling  his  great 
models,  Titian  and  Paul  Veronese.  His  drawing  was  too  often  affected  and  mannered,  but 
it  too  was  occasionally  tasteful,  correct,  and  even  grand.  To  speak  of  Etty  as  purely  a 
colorist,  not  as  a  painter,  it  is  scarcely  saying  too  much  to  affirm  that  he  has  produced 
the  most  exquisite  gems  of  modern  art,  as  in  the  '  Imprudence  of  Candaules  '  and 
some  other  specimens  in  the  Vernon  Collection."  — Wornum's  Epochs  of  Painting. 

Evans,  William.  (Brit.)  Born  in  Eton  (1798- 1876).  He  was 
styled  "  William  Evans  of  Eton  "  to  distinguish  him  from  "  Evans  of 
Bristol."  He  was  a  pupil  of  his  father,  a  teacher  of  drawing  in  Eton 
College,  succeeding  him  in  the  same  position  in  1818.  He  devoted 
himself  to  landscapes  and  figures,  generally  of  a  genre  character. 
Among  his  later  pictures  in  water-colors  may  be  noted,  "  Ferry  on 
the  Tay  "  "  Highland  Farm,"  "  Dunkeld  from  the  Bowling  Green," 
"  Blain  Castle,"  "  Burnham  Beeches,"  etc.  He  was  elected  an  Asso- 
ciate of  the  Society  of  Painters  in  Water-Colors  in  1828,  and  a  full 
member  in  1830,  contributing  frequently  to  its  exhibitions  until  1875. 

Evans,  William.  (Brit.)  (181 1  - 1859.)  Called  "  William  Evans 
of  Bristol,"  to  distinguish  him  from  the  preceding  artist.  A  land- 
scape-painter and  for  many  years  a  member  of  the  Society  of  Painters 
in  Water- Colors.  He  devoted  himself  to  the  portrayal  of  rough  and 
wild  mountain  scenery,  spending  much  of  his  time  in  the  districts 
which  he  loved  to  paint.  His  style  was  entirely  different  from  that  of 
"  Evans  of  Eton." 

Evans,  Samuel  T.  G.  (Britj)  Son  of  William  Evans  of  Eton. 
He  devoted  himself  like  his  father  to  water-color  painting,  and  resided 
for  many  years  at  Eton  College.  He  is  an  Associate  of  the  Society 
of  Painters  in  Water-Colors,  contributing,  among  others,  the  following 
works:  "  Study  in  the  Simplon  Pass,"  "  Caerngorm  Hills,"  "Windsor 
from  Poet's  Walk,"  "  Via  Mala,"  "  Rock  of  Gibraltar,"  "  Catalan 
Bay,  South  Barbara."  His  "  Rock  of  Gibraltar,  North  Front "  was 
at  the  Paris  Exposition  of  1878. 

Evans,  De  Scott.  (Am.)  Born  in  Boston,  Ind.,  1847.  He 
opened  a  studio  in  Cleveland  in  1874,  and  turned  his  attention  to  por- 
trait-painting. In  1877  and  '78  he  studied  under  Bouguereau  in  Paris. 
At  present  he  is  a  resident  of  Cleveland,  and  is  co-director  and  in- 
structor in  the  Academy  of  Fine  Arts  there.  Among  his  portraits  are 
those  of  a  young  son  of  Alfred  Cowles  (formerly  of  the  Chicago 
Tribune, which  now  belongs  to  Edwin  Cowles,  of  the  Cleveland  Leader), 
of  the  children  of  Wilber  Hinman,  Miss  Effie  Ellsler,  and  others.  His 
"  Mother's  Treasure,"  belonging  to  T.  D.  Crocker  of  Cleveland,  was 
painted  in  France  ;  "  In  the  Studio,"  genre  picture,  since  his  return 
to  the  United  States. 

"  Mr.  Evans  certainly  excels  in  his  delineation  of  draperies.  His  silks,  satins,  and 
velvets,  it  seems,  could  not  possibly  be  painted  better.  There  is  no  greater  excellence 
in  'The  Treasures'  than  its  perspective.  The  pavement,  rug,  etc.,  recede  with  a  level- 
ness  that  is  wonderful.    It  is  hard  to  realize  that  the  base  of  the  column  on  the  right 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  243 


is  on  the  same  surface,  and  no  farther  away  than  the  group  of  figures,  so  perfect  is  the 
perspective  deception.  Taken  throughout,  the  picture  is  a  charming  one,  and  does  the 
artist  great  credit. "  —  Cleveland  Leader,  September,  1878. 

Ewald,  Ernst  Deodat  Paul  Ferdinand.  (Ger.)  Born  at  Berlin, 
1836.  Director  and  Professor  of  the  Industrial  School  of  Berlin. 
Honorary  Member  of  the  Museum  of  Nuremberg.  Studied  under 
Steffeck  in  Berlin,  and  Couture  at  Paris,  where  he  remained  a  long 
time.  He  went  later  to  Italy,  and  returned  to  Berlin,  where  he  exe- 
cuted decorative  paintings  in  the  Hotel  de  Ville  and  in  the  Querhalle 
of  the  National  Gallery,  the  last  being  a  series  of  the  principal  scenes 
from  the  "  Niebelungenlied." 

Ezekiel,  Moses  Jacob.  (Am.)  Born  in  Bichmond,  Va.,  1844. 
He  graduated  at  the  Virginia  Military  Institute  in  1866.  In  1869 
he  went  to  Europe,  entering  the  Royal  Academy  of  Arts  of  Berlin 
the  same  year,  and  remaining  there  until  1871,  working  later  in  the 
studio  of  Prof.  Albert  Wolf.  In  1873  he  gained  the  Michaelbeer 
prize,  a  stipendium  for  two  years'  study  and  residence  in  Italy.  He 
has  lived  in  Rome  since  1874,  making  occasional  visits  to  America. 
He  has  received  the  gold  medal  of  the  Royal  Association  in  Palermo, 
the  Raphael  medal  at  Urbino,  and  a  silver  nledal  at  Palermo,  and  is 
a  member  of  the  Societies  of  Artists  in  Berlin  and  Rome,  of  the  Acad- 
emy of  Raphael  in  Urbino,  and  of  the  Art  Association  of  Rich- 
mond, Va.  He  has  exhibited  at  Berlin,  Rome,  Cincinnati,  National 
Academy  (New  York),  and  elsewhere.  Among  his  most  important 
works  are,  "  Religious  Liberty"  (a  group),  "  Israel,"  "Eve,"  "Pan  and 
Amor,"  "  The  Martyr,"  "  The  Sailor  Boy,"  "  Grace  Darling,"  "  Mer- 
cury," "  Faith,"  "  Consolation,"  and  "  Command." 

"  '  The  Martyr '  tied  to  the  pillar,  as  chiseled  by  Mr.  Ezekiel,  sufficed  to  convince  us 
that  the  artist  knows  how  to  breathe  life  into  marble,  and  that  he  can  make  the  face  re- 
flect grief  and  pious  resignation  of  the  heart  '  Liberty '  is  a  female  of  majestic  and 

dignified  mien,  strikingly  grand  in  the  simplicity  of  her  Greek  attire.  The  genius  of 
'Faith,'  holding  a  flaming  torch,  is  a  handsome  youth,  symmetrical  in  all  his  forms.  The 
crown  of  laurel,  the  instrument  of  the  American  Constitution,  the  colossal  eagle  crushing 
the  serpent,  typify  the  glory  and  the  power  of  the  country  of  Washington."  —  El  Diritto, 
Rome,  September  2,  1876. 

"  One  sees  at  a  glance  that  Ezekiel's  group,  'Religious  Liberty,'  at  Fairmount  Park, 
Philadelphia,  is  individual  ;  it  neither  resembles  in  form  of  expression,  in  composition 
or  handling  of  material,  any  work  of  art  that  the  world  possesses,  and  yet  we  feel  that  he 
thoroughly  understands,  venerates,  and  appreciates  Michael  Angelo's  greatness,  and  that 
he  has  gone  to  nature,  like  a  confiding,  trusting  child,  with  reverence  for  nature's 
almighty  power  and  superiority."  —  Cincinnati  Commercial,  November  12,  1877. 

"Ezekiel's  group  is  essentially  original  and  unique.  The  highest  merit  in  the  work  is 
that  it  follows  nature  perfectly  in  every  part.  Usually  abstract  ideas  incarnated 
in  marble  or  on  canvas  are  mute.  Ezekiel  gives  them  speech.  Modern  sentiments 
of  a  philosophico-religious  character  utter  audible  words  in  his  marble.  One  can 
see  in  it  the  synthesis  of  philosophy  ;  the  sublime  conception  of  a  religion  which  draws 
one  people  to  another  in  the  bond  of  brotherhood.  We  conclude  this  brief  notice  by 
expressing  our  admiration  of  the  great  American  sculptor,  in  whom  we  feel  Italian  pride, 
because  his  genius  was  cultured  beneath  our  sky,  and  was  inspired  by  our  great  men  to 
become  more  great. "  —  Publica  Opinione,  Naples. 


244     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Faed,  John.  (Brit.)  Elder  brother  of  Thomas  Faed.  Born  in 
Kirkcudbrightshire,  1820.  He  painted  miniature  pictures  when  quite 
a  youth,  in  the  neighborhood  of  his  native  place,  with  considerable 
success.  About  1841  he  settled  in  Edinburgh,  and  not  long  after  was 
elected  an  Associate  of  the  Royal  Scottish  Academy,  exhibiting  in  its 
gallery  in  1850,  "  Boyhood  ";  in  1851  (when  he  was  elected  Academi- 
cian), "The  Cruel  Sisters."  In  1854  he  exhibited  "The  Cotter's  Sat- 
urday Night"  ;  in  1855,  "The  Philosopher" ;  in  1856,  "  The  Household 
Gods  in  Danger"  ;  in  1858,  "Job  and  his  Friends  "  ;  in  1860,  "Boaz 
and  Ruth."  In  1862,  when  he  removed  to  London,  he  sent  to  the 
Royal  Scottish  Academy  "  The  Fine  Old  English  Gentleman,"  and 
still  contributes  to  its  exhibitions.  In  1861  he  sent  to  the  Royal  Acad- 
emy, London,  "  Queen  Margaret  "  ;  in  1864,  "  Catherine  Seyton  "  ;  in 
1867,  "  Old  Age"  and  "  The  Stirrup  Cup";  in  1869,  "John  Anderson 
my  Jo"  ;  in  1870,  "Old  Mare  Maggie"  ;  in  1873,  "After  the  Victory"  ; 
in  1874,  "  The  Morning  before  Flodden  "  ;  in  1875,  "  Blenheim  "  ;  in 
1876,  "In  Memoriam"  ;  in  1877,  "Goldsmith  in  his  Study";  in  1878, 
"  The  Leisure  Hour  "  and  "  The  Old  Basket-Maker." 

"  Catherine  Seyton  [R.  A.,  1864]  is  one  of  the  best  painted  pictures  in  the  entire  exhi- 
bition, and  certainly  by  far  the  most  successful  work  we  have  seen  from  the  easel  of 

J ohn  Faed.    The  whole  picture  maintains  a  winning  refinement  The  two  figures 

are  happily  composed,  not  only  in  relation  the  one  to  the  other,  but  also  in  regard  to  the 
size  of  the  canvas  to  be  filled,  and  yet  they  are  not  crowded,  —  vital  points  in  which  an 
artist  often  fails.  The  painter  too  has  justly  balanced  the  figures  against  the  accessories, 
giving  to  the  human  element  its  due  preponderance  over  chairs  and  tables."  —  Art  Journal, 
1864. 

Faed,  Thomas,  R.  A.  (Brit.)  Born  in  Scotland,  1826.  Studied 
in  the  School  of  Design,  Edinburgh,  under  Sir  William  Allan,  and 
was  a  pupil  of  his  brother  John,  from  whom  he  received  his  first  les- 
sons. Was  made  an  Associate  of  the  Royal  Scottish  Academy  in 
1849,  when  he  exhibited  his  "  Scott  and  his  Literary  Friends  at  Ab- 
botsford  "  (engraved  by  James  Faed).  He  went  to  London  in  1852, 
and  sent  to  the  Royal  Academy  of  1855  his  "  Mitherless  Bairn,"  the 
first  of  his  pictures  of  homely  rural  life  that  brought  him  into  promi- 
nent notice,  and  perhaps  the  best  and  most  touching  of  all  his  works. 
In  1856  he  painted  "Home  and  the  Homeless"  and  "Highland 
Mary  "  ;  in  1857,  "  The  First  Break  in  the  Family  "  ;  in  1859,  "  Sun- 
day in  the  Backwoods  "  and  "  My  Ain  Fireside  "  ;  in  1860,  "  Coming 
Events  cast  their  Shadows  before"  and  "His  Only  Pair."  In  1861 
(when  he  was  made  Associate  of  the  Royal  Academy),  he  exhibited 
"From  Dawn  to  Sunset";  in  1862,  "Kate  Nickleby"  and  "A 
Flower  from  Paddy's  Land"  ;  in  1863,  "The  Irish  Orange- Girl " 
and  "The  Silken  Gown";  in  1864,  "Our  Washing-Day"  and 
"  Baith  Faither  and  Mither  "  ;  in  1865,  "  The  Last  of  the  Clan."  In 
1866  (upon  his  election  as  Academician)  he  sent  "Pot  Luck"  and 
"  Ere  Care  begins  "  (his  diploma  work)  ;  in  1867,  "  The  Poor  the 
Poor  Man's  Friend  "  ;  in  1868,  "  Worn  Out,"  "  The  Flower  of  Dun-^ 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  245 


Wane,"  and  "The  Cradle"  ;  in  1869,  "Homeless"  and  "Only  Her- 
self" ;  in  1870,  "The  Highland  Mother"  and  "When  the  Day  is 
done"  ;  in  1871,  "  A  Wee  Bit  Fractious"  ;  in  1872,  "God's  Acre" 
and  "Winter";  in  1873,  "A  Lowland  Lassie,"  "A  Skye  Lassie," 
and  "  Happy  as  the  Day  is  long "  ;  in  1874,  "  Violets  and  Prim- 
roses," "  The  Sailor's  Wife,"  and  "  Forgiven  "  :  in  1876,  "  Morning  " 
and  "She  never  told  her  Love  "  ;  in  1877,  "Little  Cold  Tooties," 
"  In  Time  of  War,"  and  "  A  Runaway  Horse  "  ;  in  1878,  "  Maggie 
and  her  Friends."  These  pictures  have  all  been  popular,  and  the  en- 
gravings of  them  have  made  them  familiar  to  the  public  on  both  sides 
of  the  Atlantic. 

"  The  picture  '  From  Dawn  to  Daylight, '  which  is  honestly  and  harmoniously 
painted,  is  full  of  homely  pathos  and  solemn  simple  feeling."  —  Mrs.  Tytler's  Modem 
Painters. 

"  Faed's  pleasing  children's  faces,  his  bright  though  patchy  color  (rich,  thick,  and 
treacly),  the  somewhat  studious  and  elaborate  picturesqueness,  easy  sentimentalism, 
and  allusions  which  no  one  can  misunderstand, —  all  these  qualities  show  no  signs  of 
falling  off,  and  in  *  The  Mitherless  Bairn '  will  exert  their  usual  effect  over  the  passing 
spectator.  Mr.  Faed's  work  generally  pleases  for  the  moment,  but  seems  to  us  deficient 
in  the  simplicity  and  thoroughness  without  which  scenes  from  common  life  of  the 
pathetic  order  cannot  maintain  a  lasting  interest.  Meanwhile  he  pleases,  and  shouid 
hence  be  encouraged  to  do  more  justice  to  his  powers."  —  Palgrave's  Essays  on  Art. 

"  '  Baith  Faither  and  Mither,'  by  Mr.  Faed,  who  has  done  for  Scottish  art  what  Burns 
has  done  for  Scottish  song,  is  thoroughly  characteristic  of  that  phase  of  the  British 
school  which  is  perhaps  the  most  widely  popular,  and  with  which  its  public  are  the 

most  sympathetic  It  is  the  translation  into  painting  of  a  subject  suited  to  a 

poem.  It  is  illustrative  and  readable,  and  in  technical  merit  of  a  certain  kind  it  is  in 
many  respects  admirable.  It  is  rather  poetic  than  artistic,  if  the  distinction  explains 
itself.  The  conspicuous  values  are  in  the  telling  of  the  story,  rather  than  in  the  pic- 
torial treatment. "  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition 
of  1876. 

"  The  aspect  and  action  of  the  old  lady  as  she  feels  the  wall  with  her  trembling  hands 
give  an  immense  value  to  the  picture  'Runaway  Horses'  [R.  A.,  1877],  and  show  how 
true  an  observer  Mr.  Faed  is  in  all  that  pertains  to  human  nature  from  '  Dawn  to 
Sunset.'  "  — Art  Journal,  July,  1877. 

"  Mr.  Faed  has,  by  such  pictures  as  the  '  Mitherless  Bairn,'  made  a  profound  impres- 
sion." —  Benjamin's  Contemporary  Art  in  Europe. 

Faed,  James.  (Brit.)  A  native  of  Kirkcudbrightshire.  He  has 
spent  the  greater  part  of  his  professional  life  in  Edinburgh,  devoting 
himself  to  engraving  with  marked  success.  Among  his  plates  are 
many  of  the  works  of  his  brothers  John  and  Thomas  Faed,  and  of 
the  portraits  of  Sir  Francis  Grant.  He  paints  also  occasional  land- 
scapes and  figure-pieces  in  oil-colors,  exhibiting  at  the  Royal  Scottish 
Academy,  and  elsewhere  in  Great  Britain. 

Fagerlin,  F.  J.  (Swede.)  Medal  at  Paris,  1867.  At  the  Paris 
Exposition  of  1878  he  exhibited  "Plus  d'espoir"  (belonging  to  Mr. 
Winch  of  London),  and  a  genre  subject.  This  artist  is  a  memben  ot 
the  Royal  Academy  of  Sweden.    He  resides  at  Diisseldorf. 

Fahey,  James.  (Brit.)  Born,  1804.  Turning  his  attention  to 
engraving  at  an  early  age,  he  adopted  painting  as  a  profession  about 


246     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1823,  studying  under  Scharf  in  Munich,  and  later  for  some  years  in 
Paris.  He  settled  in  London  about  1830,  and  was  one  of  the  early 
members  of  the  Institute  of  Painters  in  Water-Colors,  holding  the 
position  of  Secretary  for  many  years.  He  is  a  member  of  the  Acad- 
emy of  Fine  Arts  of  Philadelphia.  His  specialty  is  landscapes. 
Among  his  later  works  may  be  noticed,  "The  High  Mill,  Bootle," 
"  Ha wes  Water,  Westmoreland,"  "Poole  Harbor,  Dorset,"  and  in  1878, 
"  Bray  Castle,  Windermere,"  "  Warren  Corner,  Hants,"  and  views  in 
Cumberland  and  the  Isle  of  Skye. 

Fahey,  Edward  H.  (Brit.)  Born  in  Brompton,  London,  1844. 
Son  of  James  Fahey.  He  began  the  study  of  art  in  the  schools  of 
South  Kensington  in  1862,  was  admitted  an  architectural  student 
at  the  Royal  Academy  in  1863.  In  1866  he  went  to  Italy.  In  1869 
he  studied  painting  at  the  Royal  Academy,  going  to  Germany,  and 
again  to  Italy  in  1871.  He  was  elected  an  Associate  of  the  Institute 
of  Painters  in  Water-Colors  in  1871,  and  a  full  member  in  1875.  He 
has  spent  his  professional  life  chiefly  in  London.  Among  his  more 
important  works  are,  "  The  Mill  at  Rest "  (exhibited  at  the  Dudley 
Gallery  in  1874),  "Queen  Lily  and  Pose  in  One  "  (R.  A.,  1875  ;  pur- 
chased by  the  Earl  of  Ellsmere),  "  He  Never  Came  "  (R.  A.,  1876), 
"Lily  and  her  Butterflies"  (Dudley  Gallery,  1875),  "  Still  Waters  " 
(R.  A.,  1877),  and  "  The  Pool  "  (at  Dudley  Gallery  in  1877).  His 
"  Cloudy  Day  on  the  Moulsford  Downs  "  was  at  the  American  Cen- 
tennial Exhibition  of  1876.  "He  Never  Came,"  in  oil,  and  "The 
Higher  Pool,"  in  water-colors,  were  at  the  Paris  Exposition  of  1878. 

Falconer,  John  M.  (Am.)  Born  in  Edinburgh,  1820.  He  came 
to  America  in  1836,  and  has  since  been  engaged  in  mercantile  pur- 
suits in  New  York,  devoting  his  leisure  time  to  painting  in  oil  and 
water-colors,  exhibiting  frequently  at  the  National  Academy,  of  which 
he  is  an  Honorary  Member.  He  was  one  of  the  early  members  of  the 
Water-Color  Society,  and  has  been  Treasurer  of  the  Artists'  Fund  So- 
ciety for  many  years.  Among  his  works  exhibited  at  different  times 
may  be  mentioned,  "  Hoboken  Meadows  in  1852,  looking  south," 
"  Newsboy,"  "Waiting,"  "  Bird- Trapping,"  "The  Old  Hotel  Hurley," 
"Prickly  Pear  in  Blossom,"  "  Shakspere's  Birthplace,"  "The  Oldest 
House  in  St.  Louis,"  "  Albert  Dtirer's  House,  Nuremberg,"  etc.,  in 
water-colors.  In  oils  he  has  exhibited  "  Aussig  River,"  "  Gray  Sum- 
mer Morn,"  "The  Birthplace  of  the  Author  of  'Home,  Sweet  Home,'" 
"Washington's  Headquarters,"  "October  Snow,"  "Spring,"  and 
"  Autumn  at  Mount  Clair,  New  Jersey,"  and  many  more. 

Falguiere,  Jean-Alexandre-Joseph.  (Fr.)  Born  at  Toulouse. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Jouffroy.  At  the  Salon 
of  1877  he  exhibited  a  bronze  statue  of  Lamartine  and  a  picture  of  the 
"'Beheading  of  St.  John  "  ;  in  1876,  a  bronze  bust  of  Carolus  Duran 
and  a  picture  of  Cain  and  Abel  ;  in  1875,  "  Switzerland  succoring 
the  French  Army  "  (plaster  group)  and  a  picture  of  "The  Wrestlers"  ; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  247 


in  1874,  a  portrait  bust  in  marble.  In  the  Gallery  of  the  Luxembourg 
are  a  marble  statue  of  "  A  Christian  Martyr  "  (1868)  and  the  famous 
"  Vainqueur  au  combat  de  coqs  "  (1870).  At  the  Salon  of  1878  he 
exhibited  a  marble  statue  of  Pierre  Comeille  and  a  portrait  bust,  in 
marble,  of  the  Archbishop  of  Rouen. 

Fantacchiotti,  Odoardo.  (ItaL)  Born  at  Florence  (1809- 
1877).  Member  of  several  academies.  This  sculptor  was  endowed 
with  a  fine  imagination,  and  was  original  in  treatment  and  skilled  in 
execution.  His  statues  of  "  Boccaccio  "  and  "  Accursio  "  are  in  the 
loggia  of  the  Uffizi.  In  Santa  Croce  is  his  fine  monument  to  Raphael 
Morghen  the  engraver,  in  San  Lorenzo  is  that  to  Madame  Spence, 
and  in  a  church  in  Cincinnati,  U.  S.  A.,  is  his  "  Angel  of  Prayer." 
Among  his  other  works  are,  "  Love  and  Psyche,"  "  Love  resting  on 
Fidelity,"  a  large  group  called  "  The  Murder  of  the  Innocents,"  etc. 

Fantin-Latour,  Henri.  (Fr.)  Born  at  Grenoble,  1836.  Medals 
in  1870  and  '75.  Pupil  of  his  father  and  Lecoq  de  Boisbaudran.  At 
the  Salon  of  1877  he  exhibited  a  picture  called  "  Reading,"  which 
was  much  praised  by  Duranty  in  the  "  Gazette  des  Beaux- Arts,"  and  a 
portrait,  also  two  pastels  of  landscapes  and  two  lithographs  ;  in  1876, 
paintings  of  "  Flowers  "  and  "The  Anniversary"  ;  in  1875,  three  por- 
traits ;  and  in  1874,  "  Flowers  and  Objects  of  Still-Life "  ;  at  the 
Salon  of  1878,  "  La  famille  D.,"  which  last  was  much  admired  and 
well  written  of  by  Roger  Ballu  in  the  "  Gazette  des  Beaux- Arts  "  of 
July,  1878. 

"Flower-painting  needs  a  very  skillful  hand  to  make  it  attractive,  but  the  'Roses' 
[Dudley  Gallery,  1873],  by  H.  Fantin,  must  attract  every  one  who  cares  for  taste  and  re- 
finement in  art.  Not  less  in  drawing  than  in  color  the  flowers  show  an  uncommon  gift 
for  realizing  the  individual  beauties  of  outward  nature."  —  Art  Journal,  December,  1873. 

Farrer,  Henry.  (Brit.- Am.)  Bom  in  London,  1843.  He  has 
spent  his  professional  life  in  the  city  of  New  York.  He  is  a  member 
of  the  New  York  Etching  Club,  and  of  the  American  Society  of 
Painters  in  Water-Colors.  Among  his  works  may  be  mentioned, 
"  On  the  East  River,"  "  A  Hot  Day,"  "  A  Calm  Afternoon,"  "  Sunset, 
Coast  of  Maine,"  "  The  Silent  Tongue  "  (painted  in  1872),  "  The  Old 
Homestead  at  Twilight,"  and  "  A  November  Day,"  belonging  to  J.  T. 
Williams. 

To  the  American  Centennial  Exhibition  of  1876  he  contributed 
"A  Windy  Day"  (belonging  to  Dr.  J.  G.  Holland)  and  "The  Old 
House  on  the  Hill";  to  the  Paris  Exposition  of  1878,  "A  Quiet 
Pool"  (belonging  to  Robert  Gordon,  and  at  the  National  Academy 
the  same  year). 

"  'The  Silent  Tongue,'  by  Henry  Farrer,  being  a  study  of  a  ferry- wharf,  in  which  the 
warning  bell  is  the  chief  object,  is  a  very  noticeable  picture,  one  into  which  the  artist 
has  succeeded  in  getting  a  great  deal  of  true  sentiment. "—  New  York  Evening  Mail, 
February  14,  1872. 

"  In  '  The  Quiet  Pool '  Farrer  husbands  all  his  means,  understands  and  enjoys  his  sub- 
ject, and  trusts  with  simple  faith  to  the  power  of  nature  to  help  him  through.   The  re- 


248     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


suit  is  a  drawing  that,  in  its  way,  is  nearly  perfect,  —  one  that  in  its  single  self  gives 
character  to  the  Exhibition."  —  Tribune,  February  5,  1878. 

"  Farrer  is  the  best,  by  all  odds  the  best,  of  the  young  men  who  are  honorably  striving 
to  establish  among  us  the  practice  of  the  delightful  art  of  etching."  —  Tribune,  April  19, 
1878. 

Farrer,  Thomas  C.  (Brit.-Am.)  Brother  of  Henry  Farrer.  He 
occupied  a  studio  for  some  years  in  New  York,  but  has  of  late  been  a 
resident  of  London,  studying  and  painting  also  on  the  Continent. 
He  was  one  of  the  early  members  of  the  American  Society  of  Paint- 
ers in  Water-Colors.  Among  his  works  exhibited  at  the  National 
Academy  in  New  York  may  be  mentioned,  "  Field  Lily  "  and  "  Twi- 
light on  the  Hudson,"  in  1867  ;  "  Beach  at  Hastings  "  and  "  An  Eng- 
lish Farm,"  in  1871 ;  "Caernarvon  Castle,  Wales  "  (belonging  to  Robert 
Elting),  and  "  Interior  of  St.  Mark's,  Venice,"  in  1872  ;  <;  Sunset,"  in 
1875  ;  "  Yorkshire  Trout  Stream,"  "  Coming  through  the  Lock,"  and 
"  Rochester  Castle,"  in  1878.  To  the  Royal  Academy  in  London,  in 
1872,  he  sent  "  Rochester  Castle";  in  1874,  "  Early  Spring";  in  1877, 
"  The  Brook." 

"We  are  not  surprised  that  this  skillful  artist  [T.  C.  Farrer]  finds  the  art-lovers  of  the 
States  able  and  willing  to  appreciate  his  labors.  He  may  take  high  professional  rank 
anywhere  ;  and,  although  young,  he  has  already  achieved  a  reputation  that  cannot  fail 
to  place  him  foremost  among  the  painters  of  whom  America  is  justly  proud."  —  Art 
Journal,  April,  1871. 

Farumni,  Federigo.  (Ital.)  Born  at  Sesto  San  Giovanni,  prov- 
ince of  Milan  (1833  -  1870).  Medals  in  Italy  and  at  Paris.  The 
principal  pictures  by  this  artist  are,  "  The  Architects  of  the  Cathedral 
presenting  to  Cardinal  Sforza  a  Model  of  tl^e,  Dome  of  Pavia  "  (a  fine 
work,  for  which  he  received  a  medal) ;  "  Dante  in  Youth  "  ;  "  Even- 
ing on  the  Ticino  "  ;  "  Titian  in  a  Gondola  with  his  Daughters  "  (be- 
longing to  the  banker  Ponti,  Milan)  ;  and  "  Macchiavelli  and  Cesare 
Borgia,"  which  took  a  gold  medal  at  Paris  in  1866.  The  "  Sala  del 
Cambio,"  a  large  and  valuable  picture,  was  purchased  by  Mr.  Gordon 
and  brought  to  America.  He  left  a  large  unfinished  picture  of  a 
"  Festa  at  Messalina." 

Fassett,  C.  Adfcle.  (Am.)  Born  in  Owasco,  N.  Y.,  1831.  She 
studied  water-color  painting  in  New  York  under  J.  B.  Wandesforde, 
an  English  artist,  and  crayon  drawing  and  painting  in  oil  under  Cas- 
tiglione,  La  Tour,  and  Matthieu  in  Paris.  She  spent  two  years  in 
study  in  Paris  and  Rome,  lived  in  Chicago  twenty  years,  and  has 
been  a  resident  of  Washington,  D.  C,  since  1875.  Mrs.  Fassett  is  a 
member  of  the  Chicago  Academy  of  Design,  elected  in  1873  or  '74, 
and  in  1876  was  elected  a  member  of  the  Washington  Art  Club. 
Among  her  many  portraits  may  be  mentioned  those  of  Dr.  Small, 
J.  H.  Dunham,  Judge  Hibbard,  Charles  Hammill,  and  other  promi- 
nent citizens  of  Chicago,  Vice-President  Wilson  (owned  by  the  Shoe 
and  Leather  Association  of  Boston),  Justice  Miller  of  the  Supreme 
Court  (owned  by  Colonel  Corkhill  of  Washington),  Chief  Justice 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  249 


Waite  (at  the  Centennial  Exhibition  of  1876),  the  sculptor  Vela 
(presented  to  the  Corcoran  Gallery,  Washington,  by  Hon.  John  HiU, 
Consul-General  of  Switzerland),  Clara  Barton  the  philanthropist 
(owned  by  Mr.  Hitz),  and  the  library  of  Mrs.  Martha  J.  Lamb,  the 
historian  of  New  York,  with  portrait  of  Mrs.  Lamb  (exhibited  at  the 
National  Academy  in  1878).  Mrs.  Fassett's  "On  theCampagna"  is 
owned  by  Hon.  E.  B.  French  of  Washington,  and  a  drawing  of  "  The 
Three  Graces  "  is  in  the  possession  of  the  present  Japanese  Minister 
to  Washington. 

Mrs.  Fassett  is  now  engaged  (1878)  upon  an  historical  painting  en- 
titled "  The  Electoral  Commission  in  Open  Session."  It  will  include 
portraits  from  life-sittings  of  some  two  hundred  ladies  and  gentlemen, 
prominent  in  political,  literary,  social,  and  scientific  circles  in  the 
Capitol.  It  represents  the  old  Senate  Chamber  of  the  United  States, 
now  the  Supreme  Court  room,  with  Hon.  W.  M.  Evarts  making  the 
opening  argument. 

"  Mrs.  Fassett's  admirable  likeness  of  Vice-President  Wilson,  said  to  be  one  of  the 
most  correct  for  which  he  ever  sat,  has  been  purchased  by  subscription  for  $500,  and 
presented  to  the  Shoe  and  Leather  Exchange  of  Boston.  Her  great  work, '  The  Electoral 
Commission,'  in  her  studio  in  Washington,  is  slowly  approaching  completion.  ....  Mr. 
Evarts  is* addressing  the  court,  and  the  large  number  of  people  present  are  naturally 
and  easily  grouped.  There  is  no  stiffness  or  awkwardness  in  the  position,  nothing 
forced  in  the  work.  There  are  in  the  crowd  ladies  enough  in  bright  colors  to  relieve  the 
somberness  of  the  black-coated  men,  and  the  effect  of  the  whole  picture  is  pleasing  and 
artistic,  aside  from  its  great  value  as  an  historical  work," ,—  Arcadian,  New  York,  Decem- 
ber 15,  1876. 

"  The  picture  —  Mrs.  Fassett's  '  Electoral  Commission ' —  gives  evidences  of  great  merit, 
and  this  illustration  in  oil  of  an  historical  event  in  the  presidential  annals  of  the  coun- 
try by  the  preservation  of  the  likenesses  in  group  of  some  of  the  principal  actors,  and 
a  few  leading  correspondents  of  the  press,  will  be  valuable.  This  portrait  we  safely  pre- 
dict will  be  a  landmark  in  the  history  of  the  nation  that  will  never  be  erased.  It  memo- 
rizes a  most  remarkable  crisis  in  our  life,  and  perpetuates,  both  by  reason  of  its  intrin- 
sic value  as  a  chapter  of  history,  and  its  intrinsic  worth  as  an  art  production,  the  inci- 
dent it  represents  and  the  name  of  the  artist."  —  Washington  Capitol,  March  17,  1878. 

Fassin,  Adolphe.  {Belgian.)  He  exhibited  at  Philadelphia  the 
"Neapolitan  Water-Seller,"  in  galvano-plastic,  and  "Rome"  and 
"  Naples,"  both  in  marble,  and  received  a  medal. 

Fattori,  Cavaliere  Giovanni.  (Ital.)  Professor  at  Florence. 
Medals  at  Vienna  and  at  Philadelphia,  where  he  exhibited  "  Land- 
scape,—  Rest  in  Summer,"  "  The  Escort,"  "The  Arrival  of  a  Mail  in 
Camp,"  and  "  The  Horse- Market." 

Fedi,  Fio.  (Ital.)  Born  at  Viterbo,  1815.  Member  of  several 
academies.  Went  when  very  young  to  Florence.  Worked  with  a 
goldsmith  on  the  Ponte  Vecchio  until  he  was  sixteen  years  old.  In 
1838  studied  engraving  at  Vienna.  At  length  entered  the  Acad- 
emy of  Florence,  and  there  gained  a  stipend  with  which  to  go  to 
Rome.  He  sent  to  Florence  "Christ  healing  the  Epileptic,"  a  "St. 
Sebastian,"  and  a  "Cleopatra."  In  1846  Leopold  II.  commissioned 
him  to  make  the  statues  of  Andrea  Cesalpine-and  Niccolo  Pisano  for 


250     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  loggia  of  the  Uffizi.  The  work  by  which  he  is  best  known 
is  the  "  Eape  of  Polyxena,"  in  the  Loggia  dei  Lanzi  ;  this  is  his 
capo  d'  opera.  Mr.  Wood  of  New  York  offered  him  $  25,000  to  repeat 
it  for  Central  Park,  and  it  is  said  that  a  Boston  gentleman  offered  him 
double  that  sum  ;  but  he  felt  it  would  be  a  breach  of  trust  to  dupli- 
cate it,  and  declined  the  offers. 

"Fedi's  marble  group  of  the  'Rape  of  Polyxena'  has  been  placed  by  the  Florentines 
in  competitive  proximity  to  the  works  of  Michael  Angelo,  Donatello,  Cellini,  and  Gio- 
vanni da  Bologna.  It  is  a  noteworthy  example  of  the  Italian  habit  of  looking  behind,  in- 
stead of  around  or  before,  in  art  and  literature.  Although  the  closely  stuck  drapery 
has  a  look  of  being  just  taken  out  of  a  washtub,  and  a  falling  figure  is  always  a  grave 
jesthetic  defect,  like  stuttering  in  speech,  yet  as  a  whole  it  is  a  favorable  illustration  of 
the  capacity  of  the  modern  academicians  to  treat  whatever  motives  may  be  presented  to 
them  in  a  skillful  manner,  devoid  of  other  ambition  than  to  make  an  effective  tableau. 
That  so  much  talent  and  money  can  be  in  this  age  so  misplaced  as  concerns  the 
public,  is  a  direct  impeachment  of  the  old  governmental  tyranny  over  the  artistic  mind, 
which  permitted  no  training  that  could  enlighten  the  people  or  inspire  them  with  that 
disquietude  in  existing  things  that  prepares  the  way  for  something  better.  How  could 
art  thus  repressed  rise  higher  than  mere  mechanical  excellence  and  a  tolerable  imitation 
of  whatever  in  the  past  was  officially  endorsed  as  politically  harmless  !  But  if  govern- 
ments prevent  the  development  of  any  genuine  national  life  based  on  freedom,  the  artist 
also  has  much  to  answer  for  in!  bringing  it  into  popular  disrepute  by  his  treatment  of 
the  permitted  subjects." — Jarves,  Art  Thoughts. 

Felsing,  Jacob.  (Ger.)  Born  at  Darmstadt,  1802.  Medal  at 
Paris,  and  Honorary  Member  of  the  Institute  of  France.  This  cele- 
brated engraver  studied  first  under  his  father,  then  at  Milan,  and  also 
at  Parma  under  Toschi.  His  engraving  of  "  Christ  in  the  Garden  of 
Olives,"  after  Carlo  Dolci,  took  the  grand  prize  at  the  Academy  of 
Milan.  Felsing  visited  Rome  and  Naples,  and  was  for  some  time  a 
professor  at  the  Academy  of  Florence.  Among  his  works  are,  "  The 
Madonna  of  St.  Francis,"  after  Andrea  del  Sarto  ;  the  "  Violin- 
Player,"  after  Raphael  ;  "  Young  Girls  at  a  Fountain,"  after  Bende- 
mann  ;  "Holy  Family,"  after  Overbeck  ;  etc.    [Died,  1883.] 

Feron,  Firmin-Eloi.  (Fr.)  Born  at  Paris  (1802  -  1876).  Pupil  of 
Gros.  He  gained  the  grand  prize  in  painting  at  l'l^cole  des  Beaux- Arts 
in  1825.  After  his  return  from  Rome  he  executed  several  works  for  the 
Gallery  at  Versailles,  —  "  The  Battles  of  Arsur,"  "  Fornoue,"  "  Gun- 
tersdorff,"  "  Hollabrun,"  and  several  others,  also  "  The  Taking  of 
Rhodes,"  "  Entrance  of  Charles  VIII.  into  Naples,"  "  The  Arrival  of 
the  Duke  of  Orleans  at  the  Hotel  de  Ville,  July,  1830,"  a  portrait 
of  Duguesclin,  etc. 

Ferrari,  Luigi.  (Ital.)  Born  at  Venice,  1810.  Son  of  a  sculptor, 
who  early  instructed  him  in  drawing  and  modeling.  Before  the 
death  of  the  father,  in  1844,  the  son  had  given  proof  of  good  talent, 
and  haxl  exhibited  a  bust  of  the  "  Virgin,"  since  placed  in  the  Mu- 
seum of  Brescia.  This  sculptor  represented  a  new  school  in  Italy;  he 
was  full  of  zeal  and  boldness,  and  was  made,  in  1851,  Professor  of 
Sculpture  at  the  Academy  of  Fine  Arts  in  Venice.    Among  his 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  251 


works  are,  "  David  triumphing  over  Goliath,"  "  A  Young  Girl  pray- 
ing at  the  Tomb  of  her  Father,"  "  Christian  Resignation "  (a  bas- 
relief),  "  Melancholy,"  "  Endymion,"  "  Innocence,"  etc. 

Ferrari,  E.  (Ital.)  Born  at  Rome.  Medal  at  Naples  in  1877. 
Sculptor.  He  sent  to  the  Exposition  at  Paris  in  1878,  "  Jacques 
Ortiz  "  (statue  in  plaster).  King  Humbert  gave  him  sittings  for  a 
bust  in  1878.  He  made  a  large  statue  of  a  Roumanian  statesman  to 
be  sent  to  that  country.  Ferrari  is  also  a  clever  artist  in  water-colors. 
Some  of  his  pictures  are  in  private  collections  in  Boston. 

Ferrier,  Joseph- Marie -Augustin- Gabriel.  (Fr.)  Born  at 
Nimes.  Prix  de  Borne,  1872.  Medals  in  1876  and  '78.  Pupil  of 
Pils  and  Lecoq  de  Boisbaudran.  At  the  Salon  of  1876  he  exhibited 
"  David  "  and  "  Bathsheba  "  ;  in  1875,  "  The  Rape  of  Ganymede  "  ; 
and  in  1872,  "  An  Improvisator  of  Greece,  Thirty  Years  B.  C.  "  \  in 
1878,  "  St.  Agnes,  Martyr." 

Fesquet,  Jules.  (Fr.)  Born  at  Charleval.  Two  medals  at 
Paris.  Pupil  of  the  elder  Dantan.  This  sculptor  executed  a  "  St. 
John,  Evangelist "  for  the  church  of  the  Trinity  at  Paris,  and  an  alle- 
gorical statue  of  the  city  of  New  York  for  Central  Park.  About 
1867  his  health  became  so  feeble  that  he  was  forced  to  give  up  sculp- 
ture. He  became  a  designer,  and  is  much  employed  upon"  illustrated 
publications,  besides  his  other  professional  labors. 

Feuerbach,  Anselm.  (Ger.)  Born  at  Speyer,  1829.  Professor 
at  Vienna.  Pupil  of  the  Dusseldorf  Academy  under  Schadow,  and 
of  Rahl  at  Munich.  He  visited  Antwerp,  and  entered  the  atelier  of 
Couture  at  Paris,  where  he  remained  but  a  short  time,  and  then 
sought  his  way  without  masters  other  than  the  old  masters  of  Italy, 
whither  he  went.  His  first  noticeable  picture  after  this  experience 
was  "  Dante  with  the  Noble  Women  of  Ravenna,"  exhibited  at 
Carlsruhe,  and  purchased  by  the  Grand  Duke  ;  we  believe  it  to  be 
now  in  the  Museum  of  Carlsruhe.  His  "Pieta,"  of  1862,  has  been 
etched  by  Professor  Raab.  Among  his  works  are,  "Francesca  di 
Rimini,"  some  representations  of  child-life,  "  Iphigenia  at  Aulis,"  now 
in  the  Stuttgart  Gallery,  "Orpheus  and  Eurydice,"  "Medea,"  "The 
Judgment  of  Paris,"  "  Lesbia,"  and  "  Pallas."  At  the  International 
Exhibition  at  Munich  in  1869  he  exhibited  the  "  Banquet  of  Plato  " 
and  the  "  Pieta."    [Died,  1880.] 

"  In  all  his  works  there  is  a  resemblance  to  Ingres  not  to  be  overlooked.  Our  master 
always  shows  a  moderation  in  the  use  of  his  colors  which  Ingres  never  had  ;  but  he  also 
knows  how  to  give  a  power  to  this  moderation  such  as  few  of  our  historical  artists  have 
reached,  and  to  unite  perfection  of  form  with  strength  of  effect  in  a  manner  quite 
original.  He  thus  separates  himself  from  his  predecessors,  and  is  a  modern  artist  and 
a  child  of  his  time  in  the  best  sense."  —  Fr.  Pecht,  Zeitschrift  fur  Uldende  Kunst,  1873. 

"  Feuerbach  was  completely  unknown  to  us,  as  he  probably  is  to  our  readers,  before 
our  journey  to  Munich  ;  and  in  leaving  this  city  we  bear  away  the  most  vivid  admira- 
tion of  his  talent,  and  the  conviction  that  he  is  one  of  the  three  or  four  artists  upon 
whom  Germany  can  count  We  found  there  almost  the  complete  work  of  an  art- 
ist who  traces  out  a  path  for  himself,  who  copies  no  one,  and  who  goes  his  way  with 


252     ARTISTS  OF  THE  NINETEENTH  CENTURY. 

a  rare  determination,  Avithout  disquieting  himself  about  success.  Of  little  imagination, 
at  least  in  appearance,  but  of  much  heart,  although  he  strives  to  conceal  it.  The 
'  Pieta '  (1863)  is  a  chef-d'oeuvre.  This  day,  so  full  of  emotions,  draws  to  its  end  ;  even- 
ing throws  its  shade  on  all  the  world ;  Christ,  a  figure  ugly  rather  than  beautiful,  is  ex- 
tended in  a  cavern  ;  his  mother  is  beside  him,  overwhelmed  with  her  grief ;  behind  her 
kneel  three  young  women,  sad  but  resigned.  It  is  all !  No  accessories,  no  violent  ges- 
tures, no  ideas,  but  a  sincerity  which  goes  to  the  heart,  and  a  sadness  so  natural  and  so 
deep  that  it  touches  one  more  than  all  the  research  of  the  pathetic.  It  is  as  simple  and 
grave  as  an  ancient  chant  of  the  Church.  The  forms  are  not  beautiful,  but  severe  and 
true  ;  the  attitude  of  the  three  women  is  monotonous  in  design  ;  the  severity  of  color  suits 
the  subject  admirably,  and  the  heaviness  of  the  background  concentrates  the  eflect  and 
impresses  it  more  profoundly  on  the  soul.  The  artist  has  in  every  way  abandoned  tra- 
dition, and  in  painting  the  people  of  to-day  has  known  how  to  elevate  them  by  a  grand 
style."  —  Eugene  Muntz,  Gazette  des  Beaux- Arts,  September,  1869. 

Feyen-Perrin,  Francois  Nicolas  Augustin.  (Fr.)  Born  at 
Bey-sur-Seille.  Medals  in  1865,  '67,  and  '74.  Pupil  of  Cogniet  and 
Yvon.  The  pictures  of  this  painter  frequently  represent  scenes  from 
homely  life,  —  peasant- women,  fishermen's  wives,  etc.  He  has  made 
etchings  of  his  own  works,  and  occasionally  of  the  works  of  other 
artists.  At  the  Salon  of  1877  he  exhibited  "  The  Parisienne  a^  Can- 
cale"  ;  in  1876,  "  The  Cancalaises"  ;  in  1874,  "  The  Return  of  the 
Oyster- Fishers,  Cancale"  (at  the  Luxembourg)  and  "In  the  Dew"  ; 
in  1873,  "A  Cancalaise  at  the  Fountain"  and  "The  Road  to  the 
Market."  He  has  also  exhibited  portraits.  At  the  Salon  of  1878 
was  his  "  Death  of  Orpheus." 

"Some  years  since  he  said  to  me  that,  considering  the  great  inequality  of  some  art- 
ists in  their  work,  he  thought  the  aim  of  an  artist  ought  not  to  be  so  much  to  make 

brilliant  hits  as  to  reach  une  bonne  moyenne  I  may  add  that  M.  Feyen-Perrin  has 

himself  decidedly  attained  the  bonne  moyenne  which  he  thought  desirable,  both  as  a 
painter  and  an  aquafortist. "  —  P.  G.  Hamerton,  The  Portfolio,  May,  1873. 

Fichel,  Eugene  Benjamin.  (Fr.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Delaroche.  His  "  Arrival  at  the 
Inn"  (1863)  is  at  the  Luxembourg.  At  the  Paris  Salon  of  1877  he 
exhibited  "  The  Inn  at  Ramponneau,"  and  "  At  Hotel  Drouot "  ;  in 
1876,  "  A  Fete  in  1776."  At  the  Walters  Gallery  in  Baltimore  there 
is  a  charming  picture  by  Fichel.  His  "  Coin  Connoisseurs  "  is  in  the 
collection  of  Mrs.  H.  E.  Maynard  of  Boston.  At  the  Johnston  sale, 
New  York,  1876,  his  "  Minstrel"  (7  by  9)  sold  for  $450.  At  the 
Salon  of  1878  he  exhibited  "Soldiers  and  Grisettes"  and  "Le  save- 
tier  et  le  financier." 

Fiedler,  Bernhard.  (Ger.)  Born  at  Berlin,  1816.  Member  of 
the  Academy  at  Yenice.  Medals  at  Yienna.  Studied  at  the  Academy 
of  Berlin  and  under  E.  Gerst;  later,  under  W.  Krause.  In  1843  he 
went  to  Italy,  then  to  the  East,  where  he  traveled  extensively  with 
the  Duke  of  Brabant.  Fiedler  decorated  the  beautiful  castle  of  Mira- 
mar,  near  Trieste,  the  home  of  the  unfortunate  Maximilian.  He 
finally  settled  at  Trieste.  At  the  Berlin  National  Gallery  is  his 
"Yiew  in  Istria."  At  Berlin,  in  1871,  he  exhibited  "A  Yiew  of 
Cairo  "  and  several  water-colored  views  of  Egypt  and  Yenice. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  253 


Tildes,  S.  Luke,  A.  E.  A.  (Brit.)  Born  in  1844.  Elected  to  the 
Academy,  1879.  He  began  his  studies  in  the  schools  of  South  Ken- 
sington ;  later,  entered  the  Royal  Academy.  He  furnished  drawings 
on  wood  for  the  London  Graphic,  Cornhill  Magazine,  Once  a  Week, 
and  other  periodicals,  and  was  selected  to  illustrate  the  last  books  of 
Dickens  and  Lever.  His  name  appears  for  the  first  time  in  the  cata- 
logues of  the  Royal  Academy  in  1868,  when  he  sent  "  Nightfall."  In 
1869  he  exhibited  "The  Loosened  Team";  in  1871,  "The  Empty 
Chair"  (Dickens'  study);  in  1872,  "Fair,  Quiet,  and  Sweet  Rest";  in 
1873,  "Simpletons"  ;  in  1874,  "Applicants  for  Admission  to  a  Casual 
Ward";  in  1875,  "Betty";  in  1876,  "The  Widower";  in  1877, 
"  Playmates."  His  "  Casual  Ward,"  belonging  to  Thomas  Taylor, 
and  "  Betty  "  were  at  the  Philadelphia  Exhibition  of  1876,  and  "  The 
Casual  Ward  "  at  the  Paris  Exposition  of  1878. 

" '  The  Casual  Ward,'  by  S.  Luke  Pildes  [R.  A.,  1874],  is  the  most  notable  piece  of  real- 
ism we  have  met  with  for  a  long  time.  The  painter  has  shirked  nothing  ;  he  has  set  down 

the  facts  as  he  found  them  We  think  Mr.  Fildes  has  taken  the  only  sincere  course 

possible  with  a  subject  of  this  kind.  He  has  made  no  attempt  to  make  his  picture  pretty, 
he  has,  in  truth,  deliberately  made  it  horrible  and  weird,  but  so  much  of  artistic  taste 
as  there  was  room  for  he  has  bestowed  upon  his  work."  — Art  Journal,  August,  1874. 

"  *  Betty,'  by  Fildes,  is  fresh  and  animated,  well  drawn,  full  of  spirit  and  hearty  grace. 
It  appeared  one  of  the  most  attractive  pictures  of  the  Exhibition.  His  '  Applicants  to  a 
Casual  Ward '  is  a  work  of  great  power,  and  abounds  in  admirable  individualization."  — 
Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

" '  The  Widower '  [R.  A.,  1876]  is  certainly  one  of  the  finest  works  of  art  ever  re- 
ceived by  the  Academy  Committee  of  Selection  ;  full  of  tender  pathos  and  sentiment, 
robust  in  execution,  and  vigorous  in  outline."  —  Art  Journal,  August,  1876. 

"  But  the  gem  of  the  Exhibition  [Dudley  Gallery,  winter  of  1877]  is  'Marianina,'  by 
Luke  Fildes,  which  for  pose,  drawing,  and  color  is  perhaps  the  best  bit  of  work  he  has 
done.  Mr.  Fildes  has  used  the  very  roughest  kind  of  canvas,  he  has  laid  on  his  paint 
here  and  there  with  a  palette  knife,  as  if  he  were  handicapping  himself  to  obtain  soft- 
ness of  tone  and  texture  in  spite  of  conditions  that  would  at  first  blush  appear  to  tell 
against  both.  There  is  no  picture  in  the  gallery  more  tender,  soft,  and  delicate  in  its 
effect  than  this  vigorous  study."  —  London  Letter  to  New  York  Times,  December  9,  1877. 

"  This  work  ['  Applicants  for  Admission  to  a  Casual  Ward  ']  attracted  universal  atten- 
tion, both  from  the  singularity  of  the  subject  and  the  power  with  which  it  was  treated. 
In  the  astonishing  reality  and  individuality  of  the  figures  it  represented  one  of  those 
haunting  scenes  of  miserable  life  which  Dickens  knew  how  to  produce,  and  it  proved 
with  what  discrimination  the  painter  had  been  chosen  to  illustrate  the  famous  novelist's 
last  work."  —  Portfolio,  May,  1878. 

Fildes,  Mrs.  Luke.  (Brit.)  Besides  in  London,  painting  in  the 
studio  of  her  husband.  To  the  Winter  Exhibition  at  the  Dudley 
Gallery,  in  1877,  she  contributed  "  The  Cottage  Door  "  ;  to  the  Boyal 
Academy,  in  1878,  "  Peeling  Potatoes  "  and  "  A  Berkshire  Cottage." 

Finch,  Francis  Oliver.  (Brit.)  Born  in  London  (1802  -  1862). 
Water-color  painter,  studying  under  John  Varley.  He  executed 
both  portraits  and  landscapes,  particularly  twilight  and  moonlight 
scenes. 

Fischer,  August  Ferdinand.  (Ger.)  Born  at  Berlin  (1805- 
1866).    Member  of  the  Academy  and  of  the  Senate  of  the  Academy 


254     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


at  Berlin,  where  he  studied.  Schadow  and  Wichmann  influenced  him 
to  give  his  attention  to  sculpture.  In  1842  he  was  commissioned  to 
make  four  groups  in  marble  for  the  Belle- Alliance- Platze.  These 
were  not  erected  until  ten  years  after  the  death  of  Fischer.  He  made 
many  decorative  works  for  public  buildings.  One  of  his  best  easel- 
pictures,  "  The  Roman  Water-Carrier,"  was  purchased  by  the  Em- 
peror.   In  the  National  Gallery,  Berlin,  is  the  "  Glaubens-Schild." 

Fisher,  William  Mark.  (Am.-Brit.)  A  native  of  the  United 
States,  of  Irish  parentage,  he  spent  his  youth  in  Boston,  studying  art 
at  the  Lowell  Institute ;  later,  he  was  a  pupil  of  George  Inness  at 
Medfield.  He  spent  some  time  in  study  in  Europe,  although  without 
a  master  and  in  no  school.  Returning  to  America,  he  practiced  his 
profession  in  Boston,  but  met  with  little  success,  his  pictures  not  being 
appreciated  except  by  the  intelligent  few.  He  has  lived  in  London 
for  some  years,  exhibiting  at  the  Royal  Academy  and  elsewhere.  He 
is  very  highly  regarded  in  England,  and  his  works  are  in  the  finest 
public  and  private  collections.  To  the  Royal  Academy,  in  1877,  he 
sent  "The  Meadows"  ;  in  1876,  "A  Scotch  Hillside"  and  "On  the 
Cam  "  ;  in  1875,  "  Early  Summer  "  ;  in  1872,  "  Noon."  To  the  Brit- 
ish Fine  Art  section  at  the  Paris  Exposition  of  1878  he  sent  "  Fen 
Meadows  "  and  "A  Scottish  Hillside,"  in  oils,  and  "A  Canal  Jump  on 
the  Ouse,"  in  water-colors.  The  Boston  Art  Club  owns  one  of  Fisher's 
pictures  ;  others  belong  to  Mr.  Hunnewell  of  Wellesley,  Mrs.  May- 
nard  of  Boston,  Miss  Norcross,  Mr.  T.  G.  Appleton,  and  others. 

"Mark  Fisher,  a  Boston  artist,  who  had  to  leave  his  native  land  in  order  to  find  the 
appreciation  he  deserves,  has  won  a  front  rank  in  the  landscape  art  of  his  adopted 
country,  and  seems  to  have  no  superior  there  in  the  interpretation  of  certain  aspects  of 
nature."  — Benjamin's  Contemporary  Art  in  Europe. 

Fisk,  William.  (Brit.)  (1797  - 1873.)  Early  displayed  a  talent 
for  art,  but  did  not  practice  it  as  a  profession  until  he  had  reached  his 
thirtieth  year.  First  exhibited  at  the  Royal  Academy  in  1829,  con- 
tributing one  or  more  portraits  annually  until  1836,  when  he  sent 
"  The  Coronation  of  Robert  the  Bruce,"  devoting  himself  after  that 
time  to  the  painting  of  historical  pictures,  which  were  popular  and 
frequently  engraved.  Among  them  may  be  mentioned,  "  Cromwell's 
Family  interceding  for  the  Life  of  Charles  I."  (1840),  "Charles  V. 
picking  up  Titian's  Pencil"  (1840),  "Charles  I.  passing  through 
Whitehall  Palace  to  his  Execution"  (1843),  "Trial  of  the  Earl  of 
Stafford,"  and  "  The  Attempted  Assassination  of  Lorenzo  de  Medici," 
which  received  the  gold  medal  of  the  British  Institution  in  1840,  as 
the  best  historical  picture.  He  has  not  exhibited  in  public  since 
1848. 

"  If  Mr.  Fisk's  works  may  not  be  classed  in  a  high  rank  of  historical  painting,  they  are 
most  creditable  examples,  well  composed,  careful  in  execution,  and  accurate  in  costume 
and  accessories."  —  Art  Journal,  January,  1873.  » 

Fitch,  John  L.,  A.  N.  A.    (Am.)    Born  in  Hartford,  1836.  He 


'    ARTISTS  OF  THE  NINETEENTH  CENTURY.  255 


studied  in  Munich  and  Milan  under  Prof.  Albert  Zimmermann  and 
his  brothers,  Max  and  Richard  Zimmermann.  His  professional  life 
has  been  spent  in  Hartford  and  New  York.  Is  a  member  of  the 
Artists'  Fund  Society  and  an  Associate  of  the  National  Academy.  In 
1870  he  sent  to  the  National  Academy  "  A  Mountain  Brook "  ;  in 
1871,  "  The  Outlet  "  ;  in  1873,  "  In  the  Canon,  Granville,  Mass.  "  ; 
in  1874,  "  Waiting  for  a  Bite  "  ;  in  1875,  "  A  Stray  Sunbeam  "  ;  in 
1876,  "  Autumn  "  ;  in  1878,  "  Twilight  on  John's  Brook." 

His  "  Gill  Brook "  belongs  to  F.  Goodrich.  His  largest  picture, 
"In  the  Woods,"  was  at  Philadelphia  in  1876. 

"John  L.  Fitch  has  attained  considerable  eminence  as  a  painter  of  forest  scenes,  and 
his  latest  picture,  entitled  '  In  the  Woods,'  will,  we  think,  add  greatly  to  his  reputation 
as  a  student  of  nature."  —  Art  Journal,  April,  1875. 

Flagg,  George  W.,  N.  A.  (Am.)  Born  in  New  Haven,  1816. 
His  boyhood  was  passed  in  Charleston,  S.  C.  He  was  a  nephew  of 
Washington  Allston,  and  had  the  advantage  of  that  artist's  tuition  in 
Boston,  displaying  as  a  youth  what  were  considered  phenomenal  tal- 
ents. He  spent  three  years  in  study  in  Europe,  painting  for  six 
years  in  London.  Among  his  earlier  works  are,  "  A  Young  Greek," 
"  Jacob  and  Rachel  at  the  Well,"  "  Murder  of  the  Princes  in  the 
Tower,"  "  Landing  of  the  Pilgrims,"  "  Washington  receiving  his 
Mother's  Blessing  "  (frequently  engraved),  "  Columbus  and  the  Egg," 
"  The  Match-Girl,"  "  Haidee,"  and  the  "  Scarlet  Letter."  Flagg  was 
elected  full  member  of  the  National  Academy  in  1851,  but  has  not 
exhibited  in  its  gallery  since  he  sent  his  "  Columbus  and  the  Egg  "  in 
1867. 

"  '  Haidee  '  is  another  subject  treated  by  this  artist  [George  W.  Flagg],  a  single  figure 
painted  with  much  tenderness.  Mr.  Flagg  has  in  early  years  studied  with  profit  the 
great  Italian  masters,  and  is  still  faithful  in  his  allegiance  to  them.''  —  London  Art 
Journal. 

"In  the  *  Mouse  Boy '  the  tone  of  the  coloring  is  very  harmonious,  the  position  alto- 
gether graceful  and  easy,  and  the  impression  of  the  picture  at  once  natural  and  pleas- 
ing. "  —  Tuckebman's  Boole  of  the  Artists. 

Flagg,  Jared  B.,  N.  A.  (Am.)  Younger  brother  of  George  W. 
Flagg.  Born  in  New  Haven,  1820.  Studied  in  the  studio  of  his 
"brother,  and  received  some  instruction  from  Allston.  He  first  exhib- 
ited at  the  National  Academy,  in  1836,  a  portrait  of  his  father.  In 
1849  (when  he  was  elected  Academician)  he  exhibited  "  Angelo  and 
Isabella,"  from  "Measure  for  Measure."  He  became  a  clergyman 
of  the  Episcopal  Church  in  1854,  but  still  devotes  some  time  to  the 
practice  of  art.  He  has  painted  several  excellent  portraits,  and  sent 
to  the  National  Academy,  in  1877,  a  portrait  of  Charles  L.  Frost 
and  "  The  Poet's  Captive." 

Flagg's  portrait  of  Commodore  Vanderbilt  was  in  the  Philadelphia 
Exhibition  of  1876. 

Flahaut,  Leon.  (Fr.)  Born  at  Paris.  Pupil  of  L.  Fleury  and 
Corot.    Medals  in  1869  and  '78,  when  he  exhibited  "  The  Environs 


256     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


of  Montbouy  (Loiret)  and  "High  Sea  at  Puys."  In  1869  he  exhib- 
ited "  Under  the  Wood  "  and  a  "  Soiwenir  of  the  Normandy  Coast." 

Flameng,  Leopold.  (Belgian.)  Born  at  Brussels,  of  French  par- 
ents, in  1831.  Chevalier  of  the  Legion  of  Honor.  Medal  at  Phila- 
delphia. It  is,  perhaps,  sufficient  for  a  concise  writer  to  say  of  this 
engraver  that  M.  Charles  Blanc  uses  for  him  the  adjective  "illus- 
trious," a  word  never  used  unadvisedly  by  the  French,  but  reserved 
for  the  best  men  of  their  time.  Flameng  is  truly  worthy  of  the 
praise  on  account  of  his  own  works  and  those  of  his  school.  He  first 
studied  under  Calamatta  ;  went  to  Paris  in  1853,  where  he  soon  be- 
came notable  for  his  illustrations  in  the  "  Gazette  des  Beaux- Arts." 
Since  1859  he  has  sent  his  works  to  the  Salons,  receiving  first  medal 
in  1864,  decoration  in  1870.  Among  his  plates  may  be  mentioned, 
"  Portrait  of  the  Countess  of  Agout,"  after  Claire-Christine  ;  "  Por- 
trait of  Miss  Graham,"  after  Gainsborough  (1859)  ;  "St.  Sebastian," 
after  Leonardo  da  Vinci  (1861);  "La  Source"  and  "  Angelique," 
after  Ingres,  and  a  portrait  of  a  man,  after  Rembrandt  (1863)  ;  "  Birth 
of  Venus,"  after  Cabanel,  and  "  Marguerite  at  the  Fountain,"  after 
Scheffer  (etchings,  1864)  ;  "  The  Last  Doll,"  after  Amaury-Duval, 
and  "Christ  before  the  Doctors,"  after  Bida  (1865);  "Marino 
Faliero,"  after  Delacroix,  and  "  Innocence,"  after  Prudhon  (1867)  ; 
"  The  Secret  of  Love,"  after  Jourdan,  and  three  etchings  (1868)  ; 
"  Stratonice,"  after  Ingres,  and  five  etchings  (1869)  ;  "  The  Watering- 
Place,"  after  Troyon  (1874)  ;  "  Abundance,"  after  Eubens  (1875)  ; 
"  The  Lesson  in  Anatomy "  and  "  The  Syndics,"  after  Rembrandt 
(1876)  ;  and  etchings,  after  portraits  of  Rubens  and  his  wife  by 
Rubens  (1877). 

"  Mameng  is  really  one  of  those  illustrious  men  whose  labors  make  epochs  in  the 
history  of  the  fine  arts."  —  Hamerton,  Etching  and  Etchers. 

Flandin,  Eugene  Napole*on.  (Fi\)  Born  at  Naples,  where  his 
father  was  sent  in  an  official  capacity  (1809-1875).  Chevalier  of  the 
Legion  of  Honor.  Artist,  explorer,  and  man  of  letters.  He  studied 
without  masters,  and  made  his  debut  at  the  Salon  of  1836  with  two 
pictures,  "  The  City  of  Venice,"  purchased  by  the  Civil  List,  and 
"  The  Bridge  of  Sighs/'  purchased  by  the  Societe  des  Amis  des  Arts. 
He  went  to  Algiers,  and  in  1837  exhibited  a  "  View  of  the  Mayor- 
alty at  Algiers,"  also  bought  by  the  Civil  List.  He  was  with  the 
army  in  the  campaign  against  Constantine,  and  Louis  Philippe  bought 
his  picture  of  the  assault  upon  that  place,  for  the  chateau  of  Neuilly. 
This  canvas  was  torn  by  bullets  during  the  revolution  of  1848,  was 
afterward  sold  with  other  debris,  was  purchased  by  Queen  Marie- 
Amelie  and  taken  to  Claremont.  From  1839  to  ?55  Flandin  was  oc- 
cupied in  researches  in  Persia  and  Nineveh,  where  he  was  sent  by  the 
Academies  of  the  Beaux- Arts  and  of  Inscriptions.  After  his  return  to 
France  he  published,  in  several  books,  the  result  of  his  labors,  and  he 
is  much  honored  by  the  Academies  who  had  employed  him.    In  1855 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  257 


he  reappeared  at  the  Salon,  and  continued  to  exhibit  for  several  years 
pictures  of  scenes  in  the  East,  such  as  "  A  View  of  the  Golden  Horn 
and  Stamboul,"  "  General  View  of  Constantinople,"  "  View  of  the 
Bosphorus,"  etc. 

Flandrin,  Auguste.  (Fr.)  Born  at  Lyons  (1804  - 1844).  Medal 
at  Paris.  Pupil  of  Ingres.  He  was  for  some  time  chief  of  the 
School  of  Art  at  Lyons.  His  picture  of  "  The  Bathers  "  was  much 
praised  ;  also,  an  "  Interior  of  the  Church  of  San  Miniato  at  Flor- 
ence," for  which  he  received  a  medal. 

Flandrin,  Jean  Hippolyte.  (Fr.)  Born  at  Lyons  (1809-1864). 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Brother 
of  Auguste,  and  a  pupil  of  Ingres.  He  took  the  prix  de  Rome  in  1832, 
and  there  studied  also  under  Ingres,  who  had  been  made  Director  of 
the  Villa  Medicis.  In  1838  he  returned  to  France,  where  he  added  to 
his  laurels,  and  in  1853  he  was  elected  to  the  Academy.  His  works 
are  well  designed,  and  show  close  study,  but  are  cold  in  general  effect. 
In  1847  he  painted  "  Napoleon  as  a  Legislator,"  a  commission  for  the 
Home  Department  in  the  Council  of  State.  He  painted  many  portraits ; 
that  of  the  Emperor  was  at  the  Salon  of  1863,  and  five  others  were 
exhibited  in  1861.  Flandrin  also  executed  many  monumental  paint- 
ings in  the  churches  of  Saint  Severin,  Saint  Germain-des-Pres,  Saint 
Vincent  de  Paul,  etc.  During  the  last  years  of  his  life  his  portraits 
were  much  esteemed,  and  so  numerous  were  the  orders  he  received 
that  he  was  obliged  to  refuse  many  applications.  It  is  related  that  a 
very  beautiful  woman  offered  him  80,000  francs  if  he  would  paint  her 
portrait,  but  he  bowed  her  out  of  his  studio  without  a  word  of  reply. 

"  If  it  needed  Ary  Scheffer  to  temper  the  dominant  materialism  with  his  spiritual  ap- 
prehension of  art,  it  not  less  needed  Hippolyte  Flandrin  as  an  example  of  a  purely  re- 
ligious master.  His  sincerity  and  high-mindedness  would  have  done  honor  to  the  best 
periods  of  the  sacred  art  of  Italy.  Having  a  faith  in  divine  things,  Flandrin  incarnated 
his  ideas  in  a  remarkable  series  of  wall-paintings  for  public  edifices,  and  in  easel-pic- 
tures, borrowed  in  general  characteristics  from  early  Christian  art,  but  treated  in  his 

own  thoughtful  and  refined  manner  His  talent  in  composition  ranks  him  as  a 

master,  and  he  is  as  clear  and  simple  in  coloring  as  devout  in  spirit  Although 

Flandrin  stands  at  the  head  of  French  religious  art,  he  would  take  no  such  rank  among 

great  masters  elsewhere.    There  is  nothing  grand  or  profound  in  his  works  It  is 

an  example  that  goes  to  prove  a  general  truth ;  namely,  the  incapacity  of  the  French 
school  thus  far  to  give  birth  to  art  based  on  exalted  religious  motives  or  moral  feeling." 
—  Jarves,  Art  Thoughts. 

"  I  know  not  where  M.  Flandrin  would  have  gone,  if  he  had  worked -without  a  master, 
and  been  left  to  himself.    Perhaps  he  is  one  of  those  sons  who  are  happy  that  their 

father  was  born  before  them  M.  Flandrin  found  in  M.  Ingres  his  natural  teacher, 

but  he  has  advanced  high  and  towards  the  right.  If  posterity  is  just  it  will  call  him 
*  Flandrin  without  fault,'  as  Andrea  del  Sarto  is  called  »  Andrea  without  defect.'"  — 
Edmond  About,  Nos  Artistes  du  Salon  de  1857. 

Flandrin,  Jean  Paul.  (Fr.)  Born  at  Lyons,  1811.  Chevalier  of 
the  Legion  of  Honor.  Brother  of  Auguste  and  Jean  Hippolyte,  and 
pupil  of  Ingres.  After  some  historical  painting  this  artist  confined 
himself  to  genre  landscapes  and  portraits.     A  landscape,  "Sabine 

Q 


258     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Mountains"  (1852),  is  in  the  Luxembourg.  His  "  View  of  Rivoli " 
was  purchased  by  Queen  Marie- Amelie,  and  "  The  Flight  into  Egypt " 
by  the  Ministry  of  State.  In  1877  he  exhibited  "  The  Banks  of  the 
Gardon  near  the  Pont  du  Gard,"  "  A  Farm  in  Provence,"  and  "  A 
View  of  the  Maison  de  l'Education  of  the  Legion  of  Honor  at  St. 
Denis  "  ;  in  1876,  "A  Landscape"  and  "  In  the  Woods,"  and  sketches 
for  two  portraits  ;  in  1875,  "  Souvenir  of  Bas-Breau,  Fontainebleau," 
"  Border  of  a  Pine  Wood  at  Pornic,"  and  three  sketches  ;  in  1874, 
"Souvenir  of  Provence,"  "An  Idyl,"  and  "  A  Prairie  near  Nantua," 
and  three  sketches  for  portraits;  in  1873,  "  Souvenir  of  Provence  "  and 
a  design  for  a  portrait  ;  in  1872,  one  finished  portrait  and  a  sketch  for 
another;  in  1870,  "Group  of  Green  Oaks"  and  the  "Palace  of  the 
Popes  at  Avignon  "  ;  etc.  He  also  executed  the  paintings  in  the  gal- 
lery of  the  baptistery  in  the  church  of  Saint-Severin,  and  some  of  the 
"  Views  in  the  Environs  of  Paris,"  in  the  Hotel  de  Ville.  At  the 
Salon  of  1878  he  exhibited  two  landscapes. 

"  His  tone  is  heavy,  but  serious  and  quiet,  his  color  conventional,  but  the  motive  never 
trivial,  nor  the  drawing  superficial."  —  Anton  Springer,  GescMchte  der  Mldenden  Kunste 
im  neunzehvden  Jahrhundert. 

Flers,  Camille.  (Fr.)  Born  at  Paris  (1802- 1868).  Chevalier  of 
the  Legion  of  Honor.  This  painter  of  landscapes  broke  away  from 
academic  traditions  and  was  called  an  "  innovator."  But  his  pictures 
were  admired,  and  he  held  good  rank  in  his  art.  Among  his  works  are, 
"  The  Allier  at  Vichy,  after  an  Inundation,"  "  A  Mill  at  Aunay,"  "  A 
Mill  near  Quillebceuf,"  "  The  Four  Seasons,"  etc. 

Fleury,  Leon.  (Fr.)  Born  in  Paris  (1804  -  1858).  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Victor  Bertin  and  Hersent.  This  artist 
made  extensive  sketching-tours,  and  is  chiefly  known  as  a  landscape- 
painter  ;  but  he  also  executed  some  religious  pictures,  such  as  a  "  St. 
Genevieve  "  in  the  church  of  Saint  Etienne-du-Mont,  and  "  The  Bap- 
tism of  Christ"  in  the  church  of  Sainte  Marguerite.  Several  pic- 
tures by  Fleury  were  purchased  by  the  government  for  provincial 
museums. 

Fluggen,  Joseph.  (Bavarian.)  Born  in  Munich,  where  he  was 
aiso  educated.  The  pictures  of  this  artist  are  favorably  known  all 
over  Europe.  He  affects  scenes  of  romantic  and  historic  genre.  His 
"Familien  Gluck"  is  in  the  collection  of  Mr.  Henry  Wallis,  and  is 
known  by  an  engraving  by  E.  Mohn.  Among  his  other  subjects  are, 
"  Elizabeth  of  Hungary  taking  Refuge  with  her  Children  in  a  Ruined 
Hut,"  "  Milton  dictating  Paradise  Lost,"  "  The  Countess  Margaret 
taking  Leave  of  her  Children,"  and  "  The  Landlady's  Daughter." 

Focosi,  Alessandro.  (Ital.)  Born  at  Milan  (1839  -  1869).  His 
first  work  of  importance,  "  Charles  Emmanuel  I.,"  gave  him  fame,  and 
a  rank  among  artists  which  is  seldom  -attained  in  early  life.  He  then 
executed  a  large  historical  picture,  for  which  he  received  the  ex- 
traordinary prize  of  10,000  francs,  besides  selling  the  painting  for  a 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  259 


large  sum  to  a  wealthy  patron.  His  early  death  deprived  the  modern 
Italian  school  of  a  notable  artist. 

Foley,  John  H.,  R.  A.  {Brit)  Born  in  Dublin  (1818 -1875).  Stud- 
ied in  the  schools  of  the  Royal  Dublin  Society,  and  became  a  student 
in  the  Royal  Academy,  London,  in  1834.  First  exhibited  at  the  Royal 
Academy,  1839,  "  The  Death  of  Abel."  He  executed  statues  of  Hamp- 
den, in  1847,  for  Parliament  House,  of  Father  Mathew  for  the  city  of 
Cork,  of  John  Stuart  Mill,  Stonewall  Jackson,  Burke,  Goldsmith, 
Lord  Clyde,  in  Glasgow,  Grattan,  Outram,  the  Prince  Consort,  and 
ideal  works,  "  Ino  and  Bacchus,"  "  Youth  at  a  Stream,"  "  Caractacus," 
"  The  Mother,"  "  Grief,"  "  The  Muse  of  Painting,"  etc.  His  last  and 
most  important  work  was  the  figure  of  the  Prince  Consort  in  the 
Albert  Memorial,  London,  commissioned  by  the  Queen,  but  not  cast 
until  after  the  sculptor's  death  in  1875.  He  was  elected  Associate  of 
the  Royal  Academy  in  1849,  and  Academician  in  1858. 

"  Of  Foley's  principles  in  art  it  may  be  said,  that  with,  the  highest  admiration  for  the 
time-honored  excellence  of  the  antique,  he  was  no  blind  devotee  to  its  merits,  at  the 
expense  of  what  he  deemed  of  far  higher  import,  nature  and  character.  His  portrait 
statues,  always  in  the  highest  degree  characteristic  in  dress  and  bearing,  were  rendered 

with  the  closest  attention  to  local  details  His  ideal  subjects,  equally  with  his 

portraits,  were  removed  from  any  imitative  precedent,  whether  classical  or  mediaeval. 
....  From  a  contemplation  of  such  subjects  the  spectator  rises  with  a  feeling  of  sat- 
isfaction that  the  artist  has  in  them  reached  those  chords  of  sympathetic  feeling  and 
emotion,  the  one  touch  of  which  makes  the  whole  world  kin.  "  —  Art  Journal,  January, 
1875. 

"  From  an  art  point  of  view  the  statue  [Prince  Consort]  is  grand  in  form,  regal  in 
bearing,  and  masterly  in  its  lines  of  composition."  — Art  Journal,  April,  1877. 

"  The  Seal  of  the  Confederate  States  of  America,  the  composition  of  which  is  by 
J.  H.  Foley,  R.  A.,  contains  as  a  center  a  representation  of  that  statue  of  Washington 
which  was  executed  by  the  American  sculptor,  Crawford,  and  erected  at  Richmond.  The 
figure  is  mounted  and  in  uniform,  as  if  commanding  in  an  engagement.  It  is  sur- 
rounded by  a  wreath,  beautifully  composed  of  the  most  valuable  vegetable  products  of 
the  Southern  soil,  as  tobacco,  rice,  maize,  cotton,  wheat,  and  sugar-cane.  The  rim  bears 
the  legend,  'The  Confederate  States  of  America,  22d  February,  1862,  Deo  Vindice.'  The 
diameter  of  the  seal  is  from  three  to  four  inches,  and  it  is  of  silver."  —  Art  Journal,  Jan- 
uary, 1865. 

Foley,  Margaret  E.  (Am.)  Native  of  New  Hampshire.  Died, 
1877.  Entirely  self-taught  as  a  sculptor,  she  began  her  career  in  an 
humble  way  in  her  native  town,  by  the  carving  of  small  figures  in 
wood,  and  the  modeling  of  busts  in  chalk.  Later,  she  found  her  way 
to  Boston,  where  she  cut  portraits  and  ideal  heads  in  cameo.  At  the 
end  of  seven  years  she  went  to  Rome,  where  the  rest  of  her  profes- 
sional life  was  spent.  She  died  at  Menan,  in  the  Austrian  Tyrol,  the 
summer  home  of  Mr.  and  Mrs.  Howitt,  whither  she  had  gone  in  1877, 
for  the  benefit  of  her  health.  Among  her  works  are  busts  of  Theo- 
dore Parker,  Charles  Sumner,  and  others  ;  medallions  of  William  and 
Mary  Howitt,  of  Longfellow,  Bryant,  and  S.  C.  Hall ;  "  The  Alban- 
ese  "  (medallion),  "  Cleopatra  "  (bust),  and  "  Excelsior  "  and  "  Jere- 
miah," statues,  etc. 


260     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  A  critical  estimate  of  Miss  Foley  declares  that  her  head  of  the  somewhat  impracti- 
cable, but  always  earnest  senator  from  Massachusetts  [Sumner]  is  unsurpassable  and 
beyond  praise.  It  is  simple,  absolute  truth,  embodied  in  marble."  —  Tuckerman's 
Book  of  the  Artists. 

"  The  walls  of  Miss  Foley's  room  are  well  lined  with  medallion  portraits,  in  which  she 
has  been  so  successful,  and  which  have  gained  for  her  so  wide  a  reputation.  Bierstadt 
says  he  knows  of  no  artist  who,  in  the  same  length  of  time,  has  made  so  many  portraits 
as  Miss  Foley.  She  is  gifted  with  a  rapid  insight  into  character,  which  is  as  important 
an  element  in  depicting  the  human  face  divine  as  the  deft  fingers  of  the  draughtsman. 
....  Her  4  Excelsior,'  a  spirited  illustration  of  Longfellow's  famous  lyric,  is  the  very 
embodiment  of  the  feeling  which  found  its  expression  in  the  poet's  verse,  nor  does  the 
artist's  conception  lose  any  of  its  charm  by  transfer  to  the  cold  marble. "  —  The  Revo- 
lution, May  4,  1871. 

44  Miss  Foley's  exquisite  medallions  and  sculptures  ought  to  be  reproduced  in  photo- 
graph. Certainly  she  was  a  most  devoted  artist,  and  America  has  not  had  so  many 
sculptors  among  women  that  she  can  afford  to  forget  any  one  of  them. "  —  Boston  Adver- 
tiser, January,  1878. 

Foltz,  Philippe.  (Ger.)  Born  at  Bingen,  1805.  Member  and 
Professor  of  the  Royal  Academy  of  Fine  Arts  at  Munich,  and  Direc- 
tor of  the  Royal  Galleries  of  that  city.  Foltz  studied  at  the  Gym- 
nasium of  Mayence,  and  devoted  himself  to  art,  against  the  will  of  his 
family.  In  1825  he  went  to  Dusseldorf,  where  he  was  soon  noticed 
by  Cornelius,  and  through  his  influence  was  employed  in  the  decora- 
tion of  the  Glyptothek  at  Munich,  under  the  direction  of  Schlott- 
hauer.  He  painted  many  decorative  works  in  the  New  Residence  and 
other  edifices,  under  Royal  favor,  and  became  a  prominent  artist  in 
Munich.  He  visited  Italy,  and  sent  pictures  to  the  Paris  Expositions 
of  1855  and  '67.  His  most  celebrated  work  is  a  grand  official  sub- 
ject, "Otho,  Prince  of  Bavaria,  leaving  the  Palace  of  his  Fathers  to 
go  to  take  Possession  of  the  Throne  of  Greece."  This  has  been  litho- 
graphed by  Bodmer.  His  "  Frederick  Barbarossa  "  and  "  Henry  the 
Lion/'  at  Paris,  in  1867,  were  purchased  by  the  King  of  Bavaria. 
His  "  Pericles"  was  exhibited  in  Munich  in  1870, 

Fonseca,  Antoine-Manoel  da.  {Portuguese.)  Born  at  Lisbon, 
about  1795.  Corresponding  Member  of  the  Institute  of  France. 
Chevalier  of  the  Orders  of  Christ  and  Notre  Dame  de  la  Conception 
of  Portugal,  and  of  that  of  the  House  of  Hohenzollern  of  Prussia. 
His  achievements  were  such  that  he  was  appointed  Painter  to  the 
King,  and  Professor  in  the  Academy  of  Lisbon,  in  1830.  His  sub- 
jects are  historic,  genre,  and  portraits.  Fonseca  painted  many  portraits 
of  the  Royal  Family  for  the  government.  His  works  were  at  the 
Paris  Expositions  of  1855  and  '67.  Among  his  historical  pictures  are, 
"The  Death  of  Albuquerque,"  "iEneas  saving  Anchises,"  "Christ 
amidst  the  Doctors,"  acquired  by  the  Count  of  Farrobo,  etc. 

Fontana,  Roberto.  (Ital.)  Of  Milan.  Medal  at  Philadelphia, 
where  he  exhibited  the  "  Evocation  of  Souls  from  Robert  le  Diable," 
which  was  especially  commended  in  the  report  of  John  F.  "Weir. 

Fonville,  Horace.  (Fr.)  Born  at  Lyons.  Pupil  of  his  father. 
His  "  Road  in  the  Mountains  of  Haut-Bugey  "  (1874)  is  in  the  Lux- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  261 


embourg.  At  the  Salon  of  1877  he  exhibited  "  Souvenir  of  Virieux- 
le-Grand." 

Foote,  Mary  Hallock.  {Am.)  Born  at  Milton,  N.  Y.,  where  she 
has  since  lived.  She  began  her  art  studies  in  the  Cooper  Institute, 
New  York,  under  Dr.  Bimmer,  working  there  four  winters.  Later, 
she  was  a  pupil  of  Frost  Johnson.  From  William  J.  Linton  she  re- 
ceived valuable  counsel  regarding  her  block  work.  Besides  this  she 
has  had  no  direct  artistic  training.  For  Osgood  &  Co.  she  has  illus- 
trated several  gift-books,  including  "  The  Hanging  of  the  Crane," 
"  Mabel  Martin,"  "  Skeleton  in  Armor,  "  Scarlet  Letter,"  etc.  Scrib- 
ner  &  Co.  have  published  many  of  her  best  detached  illustrations  in 
Scribners'  Monthly,  St.  Nicholas,  and  elsewhere. 

Forbes,  Edwin.  {Am.)  Born  in  the  city  of  New  York,  1839. 
At  the  age  of  eighteen  he  commenced  the  study  of  art,  devoting  him- 
self to  animal-painting.  In  1859  he  became  a  pupil  of  A.  F.  Tait. 
At  the  outbreak  of  the  American  Civil  War  he  joined  the  Army  of 
the  Potomac,  remaining  in  the  South  during  the  years  1862,  ?63,  and 
'64  as  special  artist  for  Mr.  Frank  Leslie  the  publisher.  He  made 
many  studies  of  battle-scenes  and  of  objects  of  historic  interest.  On 
his  return  to  New  York  he  painted  his  "  Lull  in  the  Fight,"  a  scene 
in  the  Battle  of  the  Wilderness,  exhibited  at  the  National  Academy, 
New  York,  and  the  Boston  Athenaeum.  Later  he  painted  several 
smaller  war-scenes,  but  at  present  is  engaged  upon  landscapes  and 
cattle-pictures.  His  "  Life  Studies  of  the  Great  Army,"  a  series  of 
copperplate  etchings,  were  exhibited  at  Philadelphia  in  1876,  and  were 
awarded  a  medal.  The  first  proofs  of  these  were  bought  by  General 
Sherman  for  the  United  States  Government,  and  are  now  in  the  War 
Office  at  Washington.  He  was  elected  an  Honorary  Member  of  the 
London  Etching  Club  in  1 877. 

"It  would  take  too  long  to  go  through  the  sketches  in  detail,  and  so  I  will  only  select 
a  few  which  seem  to  me  to  be  the  most  suggestive.  They  embrace  nearly  all  the 
branches  of  the  service,  — artillery,  cavalry,  infantry,  the  engineers,  the  supply-trains, 
the  newspaper  reporters,  the  stragglers,  and  even  the  herd  of  cattle  who  furnished  us 
with  such  delicious  but  none  the  less  tough  beef.  Nor  is  the  negro  omitted,  —  the  poor 
black  contraband,  the  innocent  cause  of  it  alL  The  gem  of  the  collection,  to  me,  is  1 A 
Night  March. '  It  needs  no  description,  —  it  must  be  seen  ;  and,  as  I  look  at  it,  and  let 
my  memory  play,  it  takes  me  back  to  more  than  one  scene  like  it.  In  pleasing  contrast 
to  this  is  that  bright  snow-scene,  '  Returning  from  Picket  Duty.'  So  cold  does  the  air 
look,  and  so  determined  and  contented  the  returning  squad,  that  you  hope  they  will  be 
rewarded  for  their  hours  on  the  picket-line  by  a  good  ration  of  commissary  whisky  as 
soon  as  they  get  back  to  quarters.  In  '  The  Reveille '  you  can  almost  hear  the  clear 
notes  of  the  bugle  in  the  chill  morning  air.  *  The  Advance  of  the  Cavalry  Skirmish- 
Line  '  and  '  Going  into  Action  '  give  an  idea  how  things  began,  of  how  the  battle  was  gen- 
erally opened  ;  while  *  The  Lull  in  the  Fight'  and  '  The  Halt  of  the  Line  of  Battle '  give 
such  a  picture  of  the  necessities  of  a  recess  for  both  sides,  and  the  havoc  committed 
which  demanded  temporary  respites  at  least,  —  for  there  was  no  long  one  until  it  was  all 
over,  I  mean  the  war,  — that  it  can  te  judged  that  life  in  the  army  was  not  altogether 
the  picnic  excursion  that  many  at  first  thought  it  was  going  to  be.  'After  Dress- 
Parade  '  is  a  pleasant  interior  scene  of  duty  over,  and  the  genial  companionship  of 


262     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


brother  officers,  and  this  Mr.  Forbes  told  me  was  actually  taken  from  one  of  our  Massa- 
chusetts regiments.  '  A  Cavalry  Charge '  is  the  exemplification  of  movement  and  phys- 
ical courage  ;  while  '  A  Halt  for  Twenty  Minutes '  has  so  weary  and  used-up  a  look, 
that  you  would  suppose  that  nothing  could  arouse  the  slumberers.  '  Going  into  Camp  at 
Night '  and  '  The  Distant  Battle  '  are  wonderful  artistic  productions,  as  is  also  '  Through 
the  Wilderness,'  a  piece  of  artillery  struggling  along  as  best  it  can.  The  scene  of  '  Ford- 
ing a  River,'  and  the  other  of  '  The  Pontoon  Bridges,'  are  both  worthy  of  note  ;  as  also 
'The  Advance  of  the  Cavalry  Picket- Line,'  and  many  others,  among  them  those  which 
give  an  idea  of  a  drenching  Virginia  rain-storm.  But  I  cannot  name  them  all,  and  so, 
before  ending,  will  merely  mention  some  of  those  in  which  the  negro  is  brought  in, 
as  a  'Reliable  Contraband,'  '  Coming  into  the  Lines,'  and  then,  last  of  all,  'The  Sanc- 
tuary.' That  scene  embodies  the  pathos  of  the  part  the  colored  race  played  in  the 
drama.  There  they  are,  the  old  woman  with  arms  outstretched,  thanking  God  in  her 
wild,  fervent  manner,  that  the  day  of  freedom  has  come,  that  the  soldiers  of  Lincoln  are 
at  hand,  and  the  dear  old  flag  in  sight.  By  her  side  are  the  aged  negro  man,  husband  or 
father,  the  pickaninny,  and  the  dog, —  all  in  a  rapt  but  mute  state  of  gratitude."  — 
Nathan  Appleton,  in  the  Boston  Globe,  October  4,  1876. 

Forrester,  Alfred  Henry.  (Brit.)  Born  in  London  (1806- 
1872).  He  was  brought  up  as  a  notary  in  the  Royal  Exchange,  con- 
tributing articles,  when  not  more  than  sixteen  years  of  age,  to  several 
London  journals,  and,  later,  illustrating  them  himself.  About  1840 
he  turned  his  attention  entirely  to  literature  and  art,  and  was  well 
known  as  "  Alfred  Crowquill "  for  his  bright  sketches  with  pen  and 
pencil.  He  was  connected  with  Punch,  the  Illustrated  London 
News,  etc.  Among  his  works,  for  which  he  furnished  the  letterpress 
and  the  drawings,  may  be  noted,  "  The  Comic  English  Grammar," 
"Comic  Arithmetic,"  "Picture  Tables,"  "  A  Bundle  of  Crowquills,"  etc. 

Forster,  Francois.  (Fr.)  Born  at  Locle,  1790.  Member  of  the 
Institute.  Officer  of  the  Legion  of  Honor.  This  very  distinguished 
engraver  gained  the  grand  prize  at  l'J^cole  des  Beaux- Arts  in  Paris  in 
1814.  The  King  of  Prussia,  being  then  in  Paris  with  the  allied  sov- 
ereigns, granted  Forster  a  pension  for  two  years  to  enable  him  to  go  to 
Home,  and  gave  him  also  a  gold  medal.  Forster,  who  had  been  a 
fellow-pupil  with  Leopold  Robert,  and  was  very  fond  of  that  painter, 
begged  that  the  same  assistance  might  be  given  his  friend  ;  this  was 
granted,  and  together  they  went  to  Rome.  Forster  devoted  him- 
self especially  to  reproducing  the  works  of  Raphael.  After  the  two 
years  he  was  obliged  to  return  to  Paris  and  labor  for  a  support. 
Among  his  works  are,  "  The  Three  Graces,"  "  The  Virgin  of  the 
Legend,"  and  two  portraits  of  Raphael,  all  after  that  master  ;  the 
"  Virgin  in  bas-relief,"  after  Leonardo  da  Vinci  ;  "  iEneas  and  Dido  " 
and  "  Aurora  and  Cephalus,"  after  Guerin  ;  "  St.  Cecilia,"  after  Paul 
Delaroche ;  etc. 

Fortin,  Charles.  (Fr.)  Born  at  Paris  (about  1815-1865). 
Chevalier  of  the  Legion  of  Honor.  He  studied  landscape-painting 
under  C.  Roqueplan,  and  interiors  under  Beaume.  Fortin  made  his 
debut  at  the  Salon  of  1835.  His  "  Benedicite  "  (1855)  was  purchased 
by  the  State.    He  sent  to  the  Salon  of  1861,  "A  Country  Tailor* 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  263 


(Finistere),  "  The  Old  Story,"  "  An  Interior,"  and  three  others ;  in 
1864,  "  Between  two  Halts  "  ;  and  in  1865,  "  The  Magpie's  Break- 
fast "  and  "  A  Familiar  Scene." 

"  Fortin  painted  poverty,  too  ;  not  poverty  patient  and  in  serene  unconsciousness,  but 
merry.  Fortin  has  almost  the  humor  of  Dickens."  —  Harper's  Magazine,  November, 
1871. 

Fortuny,  Mariano.  (Spanish.)  Born  at  Beuss,  near  Barcelona 
(1838  - 1874).  Chevalier  of  the  Order  of  Charles  III.  He  studied  at 
the  Academy  of  Barcelona,  and  when  twenty  years  old  took  the  prix 
de  Rome.  He  went  to  Rome  in  the  summer  of  1858,  and  devoted 
himself  to  sketching  after  the  works  of  the  masters  by  day  ;  at  even- 
ing he  went  to  the  Academy  Chigi,  where  he  sketched  in  crayon,  in 
ink,  and  in  water-colors.  Very  soon  he  was  called  to  Spain,  and 
placed  on  the  staff  of  General  Prim,  whom  he  accompanied  to  Mo- 
rocco. There  he  was  so  absorbed  by  his  wish  to  sketch  all  that  he 
saw  that  he  often  placed  himself  in  danger,  and,  on  one  occasion,  only 
escaped  by  passing  himself  off  as  an  Englishman.  The  war  ended,  he 
returned  to  Barcelona,  and  then  again  to  Rome.  He  executed  several 
works,  which  he  sent  to  Barcelona.  He  went  to  an  exposition  of 
painting  in  Florence,  where  he  was  much  delighted  with  the  color  of 
the  works  of  Morelli.  From  this  time  he  had  a  new  manner.  The 
city  of  Barcelona  had  commissioned  him  to  paint  a  picture  of  the 
"  Battle  of  Tetuan,"  at  which  he  had  assisted.  He  was  so  long  in  exe- 
cuting the  order  that  the  deputation  of  Barcelona  became  impatient, 
and  Fortuny  (who  had  commenced  his  work  on  a  magnificent  scale, 
and  who  was  working  devotedly  upon  it)  became  angry  and  gave  it  up. 
He  returned  the  money  which  had  been  advanced  him,  and  no  per- 
suasion could  ever  induce  him  to  resume  his  work  on  this  picture. 
In  1866  he  went  for  a  time  to  Paris.  He  had  executed  a  picture  for 
Queen  Christine,  for  the  decoration  of  her  Parisian  hotel  ;  he  also  had 
friends  among  the  French  artists  in  Rome,  and  at  Paris  made  many 
more  acquaintances.  He  went  next  to  Madrid,  to  copy  after  the 
Spanish  masters.  There  he  became  the  friend  of  Madrazo,  whose 
daughter  he  married.  In  1866  he  painted  a  "  Fantasy  of  Morocco," 
which  he  duplicated  for  Mr.  A.  T.  Stewart  of  New  York.  About  this 
time  he  executed  many  etchings.  At  Madrid  he  painted  his  "  Mari- 
posa," which  undoubtedly  suggested  the  "  Aurora  "  to  Hamon.  For- 
tuny had  fixed  himself  in  Rome  and  had  made  great  successes.  He 
could  not  execute  all  the  works  which  were  desired  from  him.  For 
this  reason  the  "  Spanish  Marriage,"  suggested  by  his  own  wedding, 
was  not  finished.  He  completed  the  "  Serpent-Charm er,"  which  had 
been  some  time  commenced,  and  repeated  it  for  M.  Andre.  His  repe- 
titions always  differed  somewhat  from  the  first  picture,  since  he 
painted  the  second  from  models  as  well  as  the  first.  His  means  were 
such  as  to  enable  him  to  gratify  his  tastes.  He  surrounded  himself  in 
his  studio  with  costly  arms,  rich  stuffs  and  tapestries,  bronzes  and 


264     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


faiences,  carpets  and  rugs  from  the  East,  fresh  flowers,  copies  of  the 
works  of  his  favorite  masters,  and  sketches  given  him* by  his  friends.* 
He  had,  also,  a  garden  in  which,  he  could  sketch  from  nature  trees 
and  plants,  while  in  the  court  was  a  Persian  tent,  shaded  by  oaks  and 
other  trees.  One  can  well  imagine  that  this  artist,  with  such  sur- 
roundings, attracted  all  the  world  to  visit  him.  Artists  congregated 
at  his  studio,  and  men  of  letters  there  discussed  the  questions  of  the 
day  ;  ladies  of  the  grand  world  were  only  too  happy  to  add  brilliancy 
to  the  gatherings,  and  Madame  Fortuny  was  an  attractive  hostess. 
Thus  the  Studio  Fortuny  became  a  Salon  of  which  many  have  pre- 
cious recollections.  In  1868  -  69  Fortuny  made  some  fine  pictures  in 
water-colors,  and  in  the  last-named  year  finished  the  "  Spanish  Mar- 
riage." There  were  several  portraits  in  it,  among  them  those  of 
Madame  Fortuny,  the  Duchess  Colonna,  and  the  artist  Eegnault.  It 
was  first  sold  to  Goupil,  then  to  Madame  de  Cassin.  In  Paris  the 
artist  was  much  courted,  but  he  avoided  society  and  loved  to  be  with 
a  few  friends,  to  sketch  while  they  talked,  and  only  to  speak  himself 
at  intervals.  While  there  he  made  a  few  pictures,  "  A  Book-Lover  in 
the  Library  of  Richelieu,"  a  water-color  of  a  "  Persian  Carpet-Mer- 
chant," etc.  From  time  to  time  Fortuny  had  exchanged  his  works 
with  the  antiquaries  at  Rome  for  articles  which  he  wished  to  have. 
Mr.  Stewart  had  bought  some  of  these  pictures,  and  at  Paris  Fortuny 
retouched  them  and  added  much  to  their  charm  and  value.  When 
the  Franco-German  war  began  Fortuny  went  to  Madrid.  Here  he 
painted,  in  water-colors,  the  "  Carnival  of  the  Last  Century."  It  was 
bought  by  Mr.  Stewart.  The  artist  went  next  to  Granada,  where  he 
passed  one  of  the  happiest  periods  of  his  life  ;  the  climate  pleased 
him ;  he  was  able  to  enlarge  his  collection  of  rare  and  beautiful  things. 
He  went  again  to  Morocco  to  verify  his  sketches  and  deepen  his  im- 
pressions. He  lived  in  an  ancient  Moorish  palace,  and  was  so  placed 
as  to  paint  to  the  best  advantage.  At  the  end  of  the  war  he  sent  sev- 
eral pictures  to  Paris,  among  them  the  "  Fencing-Lesson "  and  the 
"  Tribunal  of  a  Cadi."  While  in  Granada  he  worked  as  if  he  wished 
to  possess  the  entire  country  and  all  it  contained  in  his  sketches,  and 
had  little  thought  of  leaving  it,  when  the  servant  whom  he  had  left 
in  charge  of  his  affairs  at  Rome  died.  This  determined  Fortuny  to 
return  to  Rome,  and  there  he  settled  himself  permanently  at  the  end 
of  1872.  He  now  painted  the  "  Academy  of  the  Arcadians  listening 
to  an  Unpublished  Tragedy  in  the  Gardens  of  the  Society."  It  was 
the  last  work  that  he  entirely  completed,  and  this  was  not  finished 
until  1874.  He  was  so  surrounded  with  artists,  travelers,  picture- 
buyers,  etc.,  that  he  found  no  time  for  work.  He  disliked  closing 
his  doors  to  his  friends,  so  he  went  to  Venice  and  Naples.  In  1873 
he  had  been  ill  in  Rome  from  living  in  an  unhealthy  locality.  At 


*  The  author  can  testify  to  the  wonderful  charm  of  this  studio  and  its  surroundings, 
having  visited  it  several  times. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  265 


Naples  he  took  a  villa  at  Portici,  by  the  sea,  and  apparently  recov- 
ered his  health.  He  worked  incessantly,  and  was  full  of  ambitious 
plans  ;  his  sketches  of  this  time  are  of  great  interest.  Early  in  No- 
vember, 1874,  he  returned  to  Kome.  He  imprudently  worked  out  of 
doors,  and  soon  became  ill,  and  died  on  the  twenty-first  of  the  same 
month  of  November.  Even  on  the  day  of  his  death  he  made  a  sketch 
from  the  mask  of  Beethoven,  for  his  wife's  album.  Walther  Fol 
wrote  a  very  interesting  sketch  of  the  life  of  Fortuny  for  the  "  Gazette 
des  Beaux- Arts,"  which  was  concluded  in  the  April  number,  1875, 
with  these  words  :  — 

"  Let  us  review  in  a  few  w.ords  the  career  of  this  eminent  artist,  whose  zeal  in  his 
work  was  not  abated  for  a  single  moment.  First  period  :  his  stay  at  the  Academy  of 
Barcelona,  and  first  journey  to  Morocco  ;  the  time  in  which  he  freed  himself  from  all 
that  in  his  execution  which  suggested  the  school.  Second  period  :  from  1860  to  1865, 
the  time  when  he  developed  as  a  designer,  and  came  to  have  a  personal  manner.  Third 
period  :  from  1866  to  1870,  that  is  to  say,  from  his  picture  of  the  '  Amateur  of  Engravings ' 
and  the  *  Fantasy  of  Morocco '  to  the  '  Spanish  Marriage ' ;  the  time  when,  placed  in 
relations  with  the  most  famous  artists  of  Paris,  he  occupied  himself  to  excess  with  the 
effects  of  composition  and  of  mise  en  scene.  Fourth  period  :  from  1870  to  his  death  in 
1874,  time  of  purely  individual  development,  during  his  retreat  in  Granada,  which  con- 
tinued to  the  moment  of  his  death,  in  the  decisive  and  truly  original  expression  of  his 
talent.  To  his  varied  gifts  as  painter  and  water-colorist  he  added  a  rare  talent  for  etch- 
ing. He  engraved  a  series  of  plates,  the  fine  proofs  of  which  will  become  very  rare. 
Among  the  most  remarkable  for  the  effect  of  color  we  will  name  the  '  Kabyle  mort, 
lArabe  veillant  sur  le  corps  de  son  ami '  and  '  L'Idylle.'" 

At  the  Johnston  sale  "A  Mandolin  Player,"  water-color  (10  by  7), 
sold  for  $  680  ;  "  Scene  on  a  Terrace,"  water-color  (10  by  14),  $  500  ; 
"  A  Hall  Porter,"  pen  and  ink  (7  by  5),  $355  ;  "  Study  of  an  Arab," 
India  ink  (11  by  7),  $335  ;  and  "St.  Jerome,"  after  Kibera,  water- 
color  (7  by  5),  $  160.  At  the  Oppenheim  sale,  Paris,  1877,  a  superb 
water-color,  "The  Prayer,"  was  bought  by  Baron  Rothschild  for 
16,000  francs. 

"  Fortuny's  painting  possessed  a  mastery  which  forced  admiration.  Dealing  only  with 
the  superficial  realities  of  life,  and  handling  his  material  with  a  complete  and  cynical 
disregard  of  beauty  in  the  result,  he  nevertheless  claims  consideration  by  the  confident 
skill  of  his  expressional  power,  and  his  rapid  and  perfect  perception  of  all  that  goes  to> 
form  the  first  impression  of  things.  The  vision  may  be  limited,  if  you  will,  the  motive 
is  often  vulgar,  but  the  trivial  idea  is  supported  by  the  excellence  of  its  representa- 
tions. All  common  gesture,  all  vulgar  expression  in  the  countenance,  are  completely 
under  his  control.  The  faces  he  paints  have  no  beauty,  but  they  bear  upon  them  faith- 
fully the  record  that  coarse  life  leaves,  —  they  have  as  much  the  mark  of  fashion  as  the 
costume  that  goes  with  them  ;  they  are  attuned  to  all  the  trivialities  of  the  existence 
that  surrounds  them."  — J.  W.  Comyns  Carr,  The  Portfolio,  February,  1875. 

"  What  Chopin  is  to  music,  it  appears  to  us  that  Fortuny  is  to  art,  and  both  of  them 
have  more  of  the  gypsy  wildness  and  strangeness  of  Spain  in  their  works  than  of  the 
sweet,  classical  composure  of  Italy,  or  of  the  sharp,  graceful  esprit  of  France."— Art 
Journal,  January  30,  1875. 

Foster,  Birket.  (Brit.)  Born  in  1825.  Was  an  apprentice  of 
E.  Landell,  an  English  wood-engraver,  devoting  himself  to  that  particu- 
lar branch  of  art  for  some  years,  and  furnishing  illustrations  for  Long- 

12 


266     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


fellow's  "  Evangeline,"  his  first  important  work,  in  1850  ;  later,  he 
engraved  the  plates  for  The  Task,  Herbert's  Poems,  Wordsworth, 
Goldsmith,  Gray's  Elegy,  Beattie's  Minstrel,  Pleasures  of  Hope, 
Poets  of  the  Nineteenth  Century,  Ancient  Mariner,  Old  English 
Ballads,  and  other  fine  editions  of  standard  British  and  American 
works,  always  with  marked  success.  About  1860  he  turned 
his  attention  to  drawing  in  water-colors,  exhibiting  a  picture  in  the 
Royal  Academy,  which  attracted  much  attention.  He  was  elected 
an  Associate  of  the  Society  of  Painters  in  Water-Colors  in  1859,  and 
a  full  member  three  years  later.  His  pleasant  rural  scenes  of  a 
homely  character,  devoted  almost  exclusively  to  the  portrayal  of  child- 
life,  have  been  very  popular,  and  very  extensively  reproduced  in 
chromos,  photographs,  and  engravings.  Among  the  better  known  of 
his  subjects  are,  "  Nutting,"  "  The  Bird's-Nest,"  "  In  the  Hay-Field," 
"  Little  Anglers,"  "  The  Busy  Bee,"  "  Sailing  the  Boat,"  "  The  Dip- 
ping-Place," "  The  Mill,"  "  Cows  in  the  Pool,"  "  A  Green  Lane," 
"The  Capture  of  a  Thirty-two  Pounder,"  etc. 

An  English  landscape  of  Birket  Foster's,  belonging  to  William  T. 
Blodgett,  was  in  the  National  Academy,  New  York,  in  1870. 

"  Birket  Foster  has  indeed,both  in  his  drawing  and  in  his  designs  for  the  wood-engraver, 
carried  suavity  and  grace  to  the  veiy  highest  point  to  which  they  can  be  carried  without 
falling  into  effeminacy,  as  he  has  pushed  delicacy  of  execution  to  a  pitch  beyond  which 
it  seems  impossible  without  pettiness  and  loss  of  unity."  —  Tom  Taylor. 

"  Inasmuch  as  Birket  Foster's  pictures  recall  to  our  memories  the  dear  remembrances 
of  our  own  childhood,  it  has  done  us  more  good  to  gaze  upon  them  than  to  have  placed 
before  our  eyes  the  grandest  piece  of  historical  painting,  or  the  finest  example  of  mural 

decoration  ever  conceived  by  the  subtlest  artist  The  works  of  no  living  artist 

have  been  so  extensively  copied  as  have  been  the  works  of  Birket  Foster. "  —  London 
Art  Journal,  July,  1877. 

"  Birket  Foster  made  certain  contributions,  though  not  many,  to  the  early  numbers 
of  Punch,  but  they  were  of  a  character  which  showed  him  to  be  eminently  unfitted 
for  the  task  of  delineating  facetia.  He  did  not  suffer  many  years  to  elapse,  however, 
before  his  name  became  famous  in  a  very  different  branch  of  art  to  that  which  Punch 
would  have  marked  out  for  him."  —  Hodder's  Memoirs  of  my  Time. 

Powke,  Francis.  (Brit.)  (1823-1865.)  Architect  and  engineer. 
He  was  employed  in  the  erection  of  the  new  buildings  of  the  South 
Kensington  Museum,  the  Industrial  Museum  of  Scotland,  the  Dub- 
lin National  Gallery,  and  the  Buildings  of  the  International  Exhibi- 
tion of  London  in  1862. 

Fowler,  Frank.  (Am.)  A  native  of  New  York.  He  studied  art 
under  E.  White  in  Florence.  Living  for  some  years  in  Paris,  he 
entered  the  studio  of  Carolus  Duran,  assisting  his  master  in  painting 
the  "  Gloria  Mariee  Medicis,"  a  fresco  for  the  Museum  of  the  Luxem- 
bourg, exhibited  at  the  Paris  Salon  in  1878,  and  other  works. 

He  contributed  a  portrait  to  the  first  exhibition  of  the  Society  of 
American  Artists  in  New  York  in  1878,  and  "  Young  Bacchus,"  to 
the  Paris  Exposition  of  the  same  year. 

Fraccaroli,  Innocenzo.     (Ital.)    Born  at  Castel-Rotto,  1803. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  267 


Member  of  the  Academies  of  Venice  and  Milan.  Corresponding 
Member  of  the  Institute  of  France.  Two  medals  at  Paris  Salons. 
This  sculptor  studied  at  the  Academies  of  Venice  and  Milan,  and 
later  at  Rome.  On  his  return  from  Rome  to  Milan  lie  was  called  to 
a  professorship  in  the  Academy  of  Florence.  Among  his  works 
are,  "  The  Massacre  of  the  Innocents  "  (a  colossal  group  purchased  by 
Ferdinand  I.  for  the  Palace  of  the  Belvedere),  the  "  Monument  to 
Charles  Emmanuel  II."  (in  the  Royal  Chapel  at  Turin),  "  The  Mau- 
soleum of  Maestro  Mayr "  (at  Bergamo,  surmounted  by  three  alle- 
gories), "  St.  Mary  Magdalene,"  "  St.  John  the  Evangelist,"  "  An 
Immaculate  Conception,"  etc.  Fraccaroli  sent  to  London,  in  1866, 
"  Dsedalus  attaching  Wings  to  Icarus  "  and  "  Achilles  Wounded."  At 
Paris  in  1855  were  the  two  preceding,  as  well  as  "Eve  after  the 
Fall "  and  "  Atala  and  Chactas."    [Died,  1882.] 

Fraikin,  Charles  Auguste.  {Belgian.)  Born  at  Herenthalt,  1816. 
Chevalier  of  the  Order  of  Leopold.  A  medal  at  London  in  1857,  and 
one  at  Paris  in  1855.  This  sculptor  studied  at  the  Academy  of  Ant- 
werp, and  made  his  debut  at  the  Salon  of  Brussels  in  1846.  From 
that  time  he  has  received  many  commissions,  both  private  and  official. 
Among  his  works  are,  "  Captive  Love "  (1847),  purchased  by  the 
State  ;  two  allegories  for  the  Hotel  de  Ville  of  Brussels  ;  the  "  Tomb 
of  the  Queen  of  Belgium,"  the  model  of  which  was  at  Paris  in  1855  ; 
a  statue  of  a  young  girl  called  "  Sleep,"  in  1856  ;  etc.  At  Phila- 
delphia he  exhibited  the  "  First  Child  "  and  the  "  Drone  Bee  "  (both 
in  marble),  and  received  a  medal.  At  the  Paris  Exposition,  1878,  he 
exhibited  "  The  Artist  "  (marble  statue),  and  a  portrait  bust,  in  marble. 

Francais,  Francois  Louis.  (Fr.)  Born  at  Plombieres,  1814. 
Officer  of  the  Legion  of  Honor.  In  1848  and  '52  this  artist  was  a 
member  of  the  juries  of  admission  and  recompense  at  the  Salons. 
Pupil  of  Gigoux  and  Corot.  When  fifteen  years  old  Francais  went 
to  Paris,  where  he  was  employed  in  a  bookstore,  and  at  the  same 
time  studied  design.  At  the  end  of  five  years  he  was  able  to  sup- 
port himself,  and  had  a  good  reputation  as  a  lithographer.  He  now 
studied  painting,  but  he  did  not  exhibit  a  landscape  in  oil  until  1857. 
At  the  Luxembourg  are  his  "End  of  Winter"  (1853),  "Orpheus" 
(1863),  and  "  Daphnis  and  Chloe  "  (1872).  His  "  View  taken  at  Bas- 
Meudon"  was  purchased  by  Prince  Napoleon.  In  1876  he  exhibited 
a  souvenir  of  Franche-Comte  called  "The  Mirror  of  Scey, —  Night- 
fall "  ;  in  1875,  "  The  Ravine  of  Puits-Noir,  —  Evening,"  and  the 
"  Stream  of  Puits-Noir, —  Morning  "  ;  in  1874,  "  The  Fountain  "  and 
"A  Terrace  at  Nice" ;  etc.  The  illustrations  which  Francais  made  for 
"  La  Tourraine  "  gained  him  much  reputation.  In  May,  1872,  there 
was  a  collection  of  sketches  and  water-colors  by  Francais  at  the  Cercle 
des  Beaux- Arts  in  Paris.  Rene  Menard  wrote  in  high  praise  of  this 
exhibit,  and  especially  remarked,  as  a  virtue  of  the  artist,  that  he 
gives  to  Nature  her  diverse  characteristics,  and  thus  concludes  :  — 


268     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


"  He  has  sought  to  translate  the  varied  impressions  which  he  has  received  in  different 
countries.  The  Campagna  of  Rome  or  the  environs  of  Paris,  the  coasts  of  Brittany  or 
the  cascades  of  Switzerland,  are,  turn  by  turn,  analyzed  and  rendered  with  the  vigorous 
exactness  of  a  portrait.  Each  locality  retains  its  own  charm,  and  the  artist  seems  to 
efface  himself,  in  order  to  better  identify  himself  with  the  nature  he  endeavors  to  repre- 
sent." 

A  very  important  work  of  this  artist  is  the  decoration  of  the  Chapelle 
des  Baptemes  in  l'^glise  de  la  Trinite,  Paris ;  it  is  his  first  essay  in 
decorative  painting,  and  is  much  praised  by  Roger  Ballu  and  other 
critics. 

"  I  know  not  with  what  fitness  FranQais  has  attained  in  some  studios  the  fame  of  a 
chefd'ecole.  He  does  not  design  as  well  as  Desgoffe  or  Paul  Flandrin  ;  he  has  neither 
the  vigor  of  Theodore  Rousseau  or  the  poetic  charm  of  Corot.  An  ant  might  walk  at 
ease  in  his  narrowly  treated  landscapes  ;  the  spectator  is  wearied  in  regarding  them. 
The  talent  of  FranQais  is  composed  of  an  important  collection  of  medium  qualities ;  he 
does  well  enough  what  he  undertakes  ;  he  is  somewhat  the  pupil  of  all  the  world  ; 
he  will  never  be,  thank  God,  the  master  of  any  one."  —  Edmond  About,  Salon  de  1864. 

"  If  ever  a  name  is  precisely  adjusted  to  the  person  whom  it  designates,  it  is  assuredly 
so  with  Frangais.  Has  not  this  charming  artist  a  talent  entirely  French,  more  than 
French,  —  Parisian  ?  This  seems  strange  for  a  landscape-painter,  and,  moreover,  without 
carrying  his  umbrella  and  his  color-box  farther  than  Bougival  or  Meudon,  FranQais  has 
succeeded  in  making  some  chefs-d'ceuvre  of  grace,  elegance,  and  spirit.  It  is  not  that  he 
would  not  be  as  capable  as  others  of  facing  the  blue,  the  sun,  and  the  Italian  style  :  the 
views  of  the  port  of  Genoa,  of  Lake  Nemi,  and  the  Campagna  of  Rome,  have  sufficiently 
proved  this  ;  if  he  has  rivals  on  the  banks  of  the  Tiber,  on  the  Seine  he  meets  none. 
This  nation  is  his,  he  governs  it  as  a  master,  he  draws  from  it,  without  falsehood,  beau- 
ties which  others  have  not  been  able  to  see.  There  he  is  truly  original.  Do  we  not  owe 
him  gratitude,  we  other  inhabitants  of  the  great  city,  for  thus  making  us  comprehend 
the  poetry  of  these  delicious  sites,  whose  only  fault  is  their  proximity  ;  whose  shades 
have  encircled  the  rambles,  the  dreams,  and  the  loves  of  our  youth  ?  We  have  deserted 
them  for  distant  and  pretentiously  picturesque  countries,  but  FranQais  has  remained 
faithful  to  them,  and  has  found  the  benefit  of  it. "  —  Theophile  Gautier,  Abecedaire 
du  Salon  de  1861. 

Francis,  John.  (Brit.)  Born  in  Lincoln  (1780- 1861).  He  was 
brought  up  as  a  farmer  in  his  native  county,  but,  displaying  decided 
artistic  talents,  he  was  sent  to  London  in  the  early  part  of  the  century, 
and  spent  some  years  in  the  studio  of  Chantrey.  Here  he  worked 
diligently,  soon  attracted  the  attention  of  the  higher  circles,  and  be- 
came a  favorite  in  the  metropolis.  He  made  busts  of  many  distin- 
guished English  people,  during  his  long  career,  including  those  of  the 
Queen,  Prince  Consort,  and  other  members  of  the  Royal  Family. 
Many  noted  sculptors  were  among  his  pupils. 

Francois,  Charles-Remy-Jules.  (Fr.)  (1809-1861.)  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Henriquel  Dupont.  Most  of 
the  plates  of  this  distinguished  engraver  were  after  the  works  of  Paul 
Delaroche.  He  also  made  one  of  the  "  Crown  of  Thorns "  after 
Vandyck.  The  "  Military  Gallant,"  by  Terburg,  was  commanded 
by  the  Calcographie.  At  the  time  of  his  death  he  was  occupied  in 
the  reproduction  of  "  The  King  Candaules  "  by  Gerome.  The  Cal- 
cographie of  the  Louvre  purchased,  in  1863,  "  The  Coronation  of  the 
Virgin,"  by  Francois,  after  Fra  Angelico,  for  £  1,200. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  269 


Francois,  Alphonse.  (Fr.)  Born  at  Paris,  1811.  Member  of 
the  Institute,  and  Officer  of  the  Legion  of  Honor.  Brother  of  the 
preceding,  he  has  followed  him  in  his  studies  and  labors.  He  has 
engraved  a  great  number  of  portraits.  His  "  Coronation  of  the  Vir- 
gin," after  Era  Angelico,  was  at  the  Paris  Exposition  of  1867.  His 
chief  plates  have  been  after  the  works  of  Paul  Delaroche,  among 
which  are,  "  Pic  de  la  Mirandole,"  "  Bonaparte  crossing  the  Alps," 
"  Marie  Antoinette  after  her  Condemnation,"  etc. 

Fraser,  Charles.  (Am.)  Born  in  Charleston,  S.  C.  (1782-1860). 
He  studied  and  practiced  law  in  his  native  city  for  some  years.  In  1818 
he  adopted  painting  as  a  profession,  turning  his  attention  particularly 
to  miniatures,  in  which  he  was  remarkably  successful.  Among  his 
sitters  have  been  Lafayette,  and  members  of  all  the  noted  families  of 
the  Carolinas.  A  collection  of  his  miniature  portraits  was  exhibited 
in  Charleston  in  1857,  attracting  much  attention.  He  also  painted 
occasionally  historical  and  genre  pictures. 

Fraser,  Alexander.  (Brit.)  Born  in  Scotland  (1786  -  1865).  He 
exhibited  for  many  years  at  the  Royal  Academy  pictures  relating  to 
Scottish  character  and  history.  Among  his  works  may  be  mentioned, 
"  The  Glass  of  Ale,"  "  Alarms  of  War,"  «  Robinson  Crusoe,"  "  Last 
Moments  of  Mary  Queen  of  Scots,"  etc.,  some  of  which  have  been 
engraved.  His  "  Interior  of  a  Highland  Cottage  "  (belonging  to  the 
Vernon  Collection)  is  in  the  National  Gallery. 

Fraser,  Alexander.  (Brit.)  Born  in  Linlithgowshire,  but  for 
many  years  a  resident  of  Edinburgh,  and  a  member  of  the  Royal  Scot- 
tish Academy,  where  his  paintings  are  exhibited.  He  devotes  him- 
self to  landscape-painting.  Among  his  works  are,  "  A  Fisherman's 
Home,"  "  Highland  Landscape,"  "  The  Margin  of  the  Forest,"  "  High- 
land Cottage  Interior,"  etc.  To  the  Royal  Scottish  Academy  in  1878 
he  sent  "  In  Glen  Arnan,"  "  Trout  Stream  in  the  West  Highlands," 
"  Springtime  at  Dingleton,"  and  others. 

"Alexander  Fraser  enters  not  so  much  into  the  sublimity  as  he  seeks  to  revel  in  the 
cheerfulness  of  the  outer  world.  He  paints  the  moorland,  the  gleaming  water,  and  the 
rustic  bridge,  with  rain  clearing  off  from  the  heavy  clouds  ;  and  the  freshness  of  his 
fancy,  dallying  with  the  green  and  russet  of  the  varying  seasons,  attains  to  very  attractive 
results." — Art  Journal,  April,  1873. 

Freeman,  James  E.,  N.  A.  (Am.)  A  native  of  Nova  Scotia,  he 
was  taken  as  a  child  to  Otsego  County,  New  York.  At  an  early  age 
he  entered  the  schools  of  the  National  Academy,  and  painted  for  some 
time  in  Western  New  York,  but  he  has  been  for  many  years  a  resident 
of  Rome.  He  was  elected  a  member  of  the  National  Academy  in 
1833,  but  has  not  exhibited  in  its  gallery  since  1868,  when  he  sent  a 
*£  Mother  and  Child."  His  works  rarely  come  to  this  country.  Among 
the  better  known  of  his  pictures  are,  "  The  Beggars,"  "  The  Flower- 
Girl,"  "The  Savoyard  Boy  in  London,"  "Young  Italy,"  "  The  Bad 
Shoe,"  etc.   Two  of  his  pictures,  figure-pieces,  —  young  girls,  one  with 


270     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


a  parrot,  —  belong  to  H.  P.  Kidder  of  Boston.  He  published  in  Eng- 
land a  charming  book  called  "  Portfolio  of  Italian  Sketches." 

"The  composition  is  simple  but  remarkably  felicitous,  consisting  of  one  erect  and 
one  sleeping  figure  ['  The  Beggars,'  by  James  E.  Freeman],  but  the  attitudes,  the  atmos- 
phere, the  execution,  the  finish,  and  above  all  the  expression,  are  in  the  highest  degree 
artistic  and  suggestive."  —  Tuckekman's  Book  of  the  Artists. 

Freeman,  Mrs.  James  E.  Wife  of  the  preceding.  She  has  devoted 
herself  to  sculpture,  and  has  executed  busts  which  display  considerable 
artistic  ability.    Among  her  ideal  works  is  "  The  Culprit  Fay." 

Freeman,  Florence.  {Am.)  Born  in  Boston,  1836.  She  received 
her  earliest  instruction  in  sculpture  from  Richard  S.  Greenough.  In 
1861  she  went  to  Italy  with  Miss  Charlotte  Cushman,  remaining  a 
year  in  Florence,  under  the  instruction  of  Hiram  Powers.  She  re- 
moved her  studio  to  Rome  in  1862,  where  the  rest  of  her  professional 
life  has  been  spent.  Among  the  most  important  of  Miss  Freeman's 
works  are  a  bust  of  "  Sandalphon  "  (belonging  to  Mr.  Longfellow)  ; 
bas-reliefs  of  Dante  ;  a  statue  entitled  "  Sleeping  Child,"  and  the 
sculptured  chimney-piece  representing  "  Children  and  Yule  Log  and 
Fireside  Spirits,"  which  was  at  the  Centennial  Exhibition  at  Philadel- 
phia in  1876,  and  received  honorable  mention.  The  chimney-piece  is 
now  in  the  possession  of  Mrs.  Augustus  Hemenway  of  Boston. 

"Miss  Freeman  is  a  native  of  Massachusetts  ;  and  is  one  of  those  delicate,  shrinking, 
and  artistic  natures  such  as  Hawthorne  painted  in  his  Hilda,  that  marvelous  and  truth- 
ful portrait  of  a  type  of  character  indigenous  to  New  England  ;  as  lovely  and  as  pecul- 
iarly its  own  as  the  delicate  mayflower.  In  fact,  '  Hilda '  is  the  soubriquet  by  which 
this  young  artist  is  known  among  her  friends.  Her  works  are  full  of  poetic  fancy,  her 
bas-reliefs  of  the  seven  days  of  the  week  and  of  the  hours  are  most  lovely  and  origi- 
nal in  conception.  Her  sketches  of  Dante  in  bas-relief  are  equally  fine.  Her  designs 
for  chimney-pieces  are  gems,  and  in  less  prosaic  days  than  these,  when  people  were  not 
satisfied  with  the  work  of  mechanics,  but  demanded  artistic  designs  in  the  commonest 
household  articles,  they  would  have  made  her  famous."  —  The  Revolution,  May  11,  1871. 

"  Among  the  many  studies  and  designs  in  Miss  Freeman's  studio  one  of  the  most  in- 
teresting statues  is,  '  Thekla,  or  the  Tangled  Skein,'  from  the  '  Schonberg  Cotta  Family.' 
The  pretty,  sorrowful  girl  sits  looking  despondently  at  the  tangled  web  of  yarn  which 
she  has  vainly  tried  to  wind  ;  and  I  can  almost  hear  the  old  gi'andmother's  wise  words, 
which  helped  the  girl  in  after  life  when  she  had  life's  tangles  to  contend  with,  '  Wind 
away,  child,  and  take  out  the  knots  one  by  one. '  Miss  Freeman's  designs  for  chimney- 
pieces  are  quite  original  ;  one  has  over  the  chimney  a  bas-relief  of  children  dragging 
home  the  Yule  Log,  and  on  either  side  are  wood-elves  sitting  on  logs,  as  if  watching  the 
blazing  of  the  fire  pensively,  and  thinking  of  their  lost  trees. "  —  Anne  Brewster,  in 
Philadelphia  Bulletin. 

Freese,  Johann  Oskar  Hermann.  (Ger.)  Born  in  Pomerania 
(1813-1871).  Painter  of  animals  and  hunting-scenes.  He  was  de- 
votedly fond  of  the  chase,  and  died  from  the  effects  of  some  indiscretion 
in  eating  or  drinking  when  overheated  by  his  exertions  in  hunting. 
Studied  under  Briicke  and  Steffeck.  He  made  his  debut  in  1857  with 
a  picture  called  "Fighting  Deer."  He  soon  became  distinguished. 
His  ideal  pictures  were  less  successful  than  his  representations  of  the 
actual  scenes  in  which  he  was  often  an  actor.  At  the  National  Gal- 
lery, Berlin,  is  his  "  Flying  Deer  "  and  a  "  Boar  Hunt." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  271 


Premiet,  Emmanuel.  (Fr.)  Born  at  Paris,  1824.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Bude.  Made  his  debut  at  the  Salon 
of  1843.  His  "  Wounded  Dog  ,"  bronze  (1850),  and  "  Pan  and  Bears  " 
marble  (1867),  are  in  the  Luxembourg.  His  "Joan  of  Are,"  an 
equestrian  statue,  was  erected  on  the  Place  de  Eivoli,  and  has  been 
severely  criticised.  At  the  Salon  of  1876  he  exhibited  "  A  Hunter 
and  a  Gorilla,"  in  terra-cotta,  belonging  to  E.  Ferrin  fils,  and  "  A 
Lady  of  the  Court,  Sixteenth  Century  "  ;  in  1875,  "  Joan  of  Arc,"  a 
monumental  statue  in  plaster  ;  "  A  Man  of  the  Age  of  Stone,"  bronze 
statue  ;  "A  Minstrel  of  the  Fifteenth  Century,"  statuette  in  silvered 
bronze  ;  etc.  Fremiet  has  made  many  statuettes  in  bronze  and  plaster, 
and  an  equestrian  statue  of  Napoleon  III.,  for  whom  he  made  casts  of  a 
complete  collection  of  the  arms  used  by  the  French  army.  At  the 
Salon  of  1878  he  exhibited  "St.  Gregory  of  Tours,"  marble,  for  the 
church  of  Sainte  Genevieve,  and  "  A  Knight-Errant." 

French,  Daniel  Chester.  (Am.)  Born  at  Exeter,  N.  H.,  1850. 
Attending  art  lectures  under  Dr.  Eimmer  in  Boston,  he  was  for  a 
short  time  in  the  studio  of  J.  Q.  A.  Ward  in  New  York,  and  studied 
under  Thomas  Ball  in  Florence  in  1875-76.  His  professional  life  has 
been  spent  in  Concord,  Mass.,  Florence,  and  Washington,  D.  C.  He 
is  at  present  (1884)  in  Concord.  Among  the  better  known  of  his 
sculptured  works  are,  "  The  Minute  Man,"  in  bronze,  on  the  battle- 
ground in  Concord,  Mass.,  unveiled  in  1875  ;  "  The  May  Queen,"  in 
marble  (owned  by  Joel  Goldthwaite  in  Boston)  ;  "  Daybreak,"  high- 
relief,  in  marble  (owned  by  William  C.  Taylor,  Dorchester,  Mass.)  ; 
"  Elsie  Vernier,"  bas-relief,  in  marble  (the  property  of  a  Boston  gentle- 
man) ;  "  Peace  and  War,"  a  colossal  group  for  the  Custom  House  at 
St.  Louis  ;  and  "  Awakening  of  Endymion,"  not  yet  finished,  in  his 
studio  at  Florence.  During  his  residence  in  Washington  in  1876  he 
was  elected  a  member  of  the  Art  Club,  and  executed  a  number  of 
small  figures  and  groups  which  were  put  in  parian  and  plaster,  and 
are  very  popular  ;  among  the  better  known  of  these  are,  two  groups 
of  Dogs,  "  The  Owl  in  Love,"  "  Dolly  Varden  and  Joe  Willet,"  "  Dick 
Swiveller  and  the  Marchioness,"  etc. 

"  '  The  Minute  Man  of  Concord '  will  be  readily  accepted  as  a  worthy  example  of 
American  sculpture,  and  might  even  stand  for  the  ideal  embodiment  of  the  genius  of  the 

Revolution  The  statue  is  of  course  of  heroic  measure  ;  somewhat  more  than 

seven  feet  in  height,  generously  proportioned.  It  represents  a  young  man,  turning  at  the 
hurrying  call  of  the  messenger  from  his  labors  in  the  field,  and  instantly  ready  for  duty. 
This  '  Minute  Man '  is  instinct  with  life  and  principle.  It  is  no  ideal  face,  no  counte- 
nance or  form  that  would  be  at  home  in  other  countries,  but  a  thorough  Yankee,  that 
Mr.  French  has  given  to  immortality."  —  Springfield  Republican. 

Frere,  Pierre  Edouard.  (Fr.)  Born  at  Paris,  1819.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Delaroche.  He  made  his  debut 
at  the  Salon  of  1843.  His  earliest  works  were  popular,  and  through 
engravings  were  widely  known.  His  pictures  are  numerous.  The 
French  call  him  fc'cond,  but  industrious  would  be  a  better  word,  for 


272     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


his  works  all  show  care  and  study.  We  can  give  but  a  meager  list  of 
his  pictures  here.  Among  the  first  were,  "  The  Little  Gourmand," 
« The  Little  Curious  One,"  "  The  Grapes,"  etc.  At  the  Salon  he 
exhibited  "  An  Interior  at  ISeouen  "  and  "  Going  to  School"  (1877), 
"La  Glissade"  (1873),  "A  Presentation"  (1872),  two  pictures  of 
"  Boys,"  and  «  Girls  going  out  of  School "  (1869),  etc.  At  the  Acad- 
emy Exhibition,  London,  1878,  he  exhibited  "  The  Heading "  and 
"  The  Koad  to  School."  At  the  Johnston  sale,  New  York,  1876, 
"Industry"  (13  by  11),  from  the  Wolfe  sale  in  1863,  brought  $895  ; 
and  "  Preparing  for  Church  "  (22  by  18),  $  2,400.  The  latter  is  now 
in  the  Corcoran  Gallery,  Washington.  At  a  London  sale,  in  1876, 
"The  Lesson"  sold  for  ^241.  At  the  Gillott  sale,  London,  1872, 
"  The  Orphan's  First  Prayer  "  brought  655  guineas. 

"It  was  marvelous  to  the  critics  that  this  character  had  come  out  of  the  studio  of 
Delaroche.  The  stately  swan  had  hatched  out  a  wild  creature,  which  took  to  the  woods 
immediately.  As  the  wood  birds  take  their  color  from  the  ground  and  the  brown 
leaves,  so  there  was  a  countrified  look  about  this  pupil  of  Delaroche;  but  the  results 
were  in  this  case  certain  ceufs-d'or  which  Parisian  critics  could  not  mistake.  He  painted 
the  country  children  in  all  their  performances  and  amusements,  in  a  way  that  made 
him  the  Columbus  of  a  before  undiscovered  world  around  the  capital."  —  Harper's 
Magazine,  November,  1871. 

"  His  painting  of  children  is  as  different  as  it  can  be  from  the  conventional  studying 
of  models  imported  into  the  studio,  and  thereby  losing  their  natural  grace  and  artless 
simplicity.  One  of  the  most  distinctive  and  charming  characteristics  of  unspoilt  child- 
hood is  the  utter  absence  of  self-consciousness,  and  the  air  of  complete  absorption  of 
mind  with  which  it  regards  some  incident,  or  engages  in  some  occupation,  to  us  merely 
trivial.  This  should  never  be  lost  sight  of  by  the  painter  of  children  ;  and  we  believe 
that  a  great  deal  of  the  charm  of  Frere's  portraiture  depends  upon  its  constant  recog- 
nition. But,  to  see  it  and  paint  it,  the  artist  must  be  on  the  most  easy  terms  with  his 
sitter,  and  one  cannot  fail  to  perceive  that  the  presence  of  M.  Frere  with  his  palette 
and  brushes  in  any  part  of  the  village  of  his  adoption  is  a  great  deal  too  familiar  a 
sight  to  cause  any  interruption  of  the  ordinary  pursuits  or  demeanor  of  the  children. 
We  do  not,  however,  profess  to  know  by  what  process  M.  Frere  fixes  upon  his  canvas 
these  wonderfully  true  and  subtly  rendered  incidents  of  child-life.  They  are  too  vivid 
and  complete  in  their  impression  for  us  to  suppose  that  they  can  be  other  than  actual 
incidents,  painted  exactly  (or  with  the  modifications  necessary  to  artistic  treatment)  as 
he  has  seen  them.  They  cannot,  of  course,  be  actually  finished  from  the  life.  The  use 
of  models,  in  the  ordinary  sense  of  the  term,  must,  one  would  think,  be  confined  to 
very  mechanical  parts  of  such  work  as  this.  Does  he  trust  entirely  to  strong  powers  of 
observation  and  a  retentive  memory,  or  does  he  aid  his  recollection  by  rapid  sketches, 
taken  when  an  incident  strikes  his  fancy,  in  a  few  expressive  touches  of  the  pencil  or 
brush?  For  Edouard  Frere,  besides  being  a  great  delineator  of  character,  is  a  thorough 
artist,  and  his  pictures  are  as  skillful  in  the  qualities  of  composition,  lighting,  and  color, 
as  they  are  masterly  in  those  above  referred  to."  —  Art  Journal,  November  29,  1873, 
from  the  London  Spectator. 

Frere,  Charles  Theodore.  (Fr.)  Born  at  Paris,  1815.  Medals 
in  1848  and  '65.  Pupil  of  Cogniet  and  Eoqueplan.  Brother  of 
Edouard  Frere.  He  made  his  debut  at  the  Salon  of  1834,  and  two 
years  later  went  to  Algiers,  and  has  traveled  and  lived  much  in  the 
East.  He  has  a  studio  at  Cairo,  as  well  as  at  Paris.  His  works  are 
mostly  of  Eastern  scenes  and  customs.    His  "Halt  of  Arabs"  (1850) 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  273 


was  bought  by  the  Ministry  of  the  Interior.  At  the  Salon  of  1877  he 
exhibited,  "Au  Khan-Kalil"  (Cairo),  and  "An  Evening,  Upper 
Egypt";  in  1876,  "The  Island  of  Philee,"  and  "The  Tombs  of  the 
Caliphs  at  Cairo";  in  1875,  "Caravan  of  Mecca"  and  "Twilight  at 
Cairo."  Mrs.  H.  E.  Maynard  of  Boston  has  in  her  collection  a  "  View- 
near  Cairo  "  by  this  painter.  At  the  Salon  of  1878  he  exhibited 
"  The  Nile,  —  Evening  "  and  "  The  Desert,  —  Midday." 

Frere,  Charles-Edouard.  (Fr.)  Born  at  Paris.  Pupil  of  £. 
Frere  and  of  Couture.  At  the  Salon  of  1877  he  exhibited,  "  L'Em- 
batage"  and  "A  Bit  of  Paris";  in  1876,  "The  Snow";  in  1875, 
"Before  the  Rain";  in  1878,  a  portrait  and  "Machine  a  battre,  a 
Frepillon." 

Frere,  Jean-Jules.  (Fr.)  Born  at  Cambrai.  Pupil  of  Cavelier. 
Medal  of  the  third  class  in  1878,  when  he  exhibited  "  An  Oriental 
Singer,"  statue,  plaster.  In  1877  he  sent  two  portrait  busts  in  terra- 
cotta and  plaster. 

Freschieri,  Giuseppe.  (Ital.)  Born  at  Savona,  1810.  Chevalier 
of  the  Order  of  SS.  Maurice  and  Lazarus.  Gold  medal  at  Florence 
in  1861.  Director  and  Professor  for  thirty  years  in  the  Academy  of 
Genoa.  His  portraits  are  numerous,  and  are  in  Royal  collections  and 
private  palaces  in  all  countries  of  Europe  and  Great  Britain.  Some 
of  his  works  in  this  department  are  in  the  United  States  of  America. 
His  portrait  of  himself  is  in  the  autograph  collection  of  the  Uffizi 
at  Florence.  Charles  Albert  purchased  his  large  painting  of  "  Fran- 
ceses and  Paolo,"  and  it  is  in  the  Royal  Gallery  of  Turin. 

Fripp,  George  Arthur.  (Brit.)  Born,  1813.  Practiced  art  in 
Bristol  for  some  years,  and  settled  in  London  about  1840,  since  which 
time  he  has  been  a  frequent  contributor  to  the  exhibitions  of  the  So- 
ciety of  Painters  in  Water-Colors,  of  which  he  was  made  a  member 
early  in  his  career,  acting  for  some  time  as  Secretary  of  the  Society. 
Paints  landscapes  which  are  highly  regarded,  and  meet  with  ready 
sale.  At  the  exhibition  in  1877  he  had  twelve  pictures,  scenes  on  the 
isles  of  Skye  and  Sark,  and  elsewhere  in  the  North. 

"George  A.  Fripp's  '  Study  of  a  Hillside  and  Cavern;  Cornwall '  [1877],  is  very  admi- 
rable and  a  marvel  of  nice  art  Exhibits  the  most  skillful  draughtsmanship,  and 

is  a  truly  beautiful  and  effective  piece  of  water-color."  —  Art  Journal,  February,  1877. 

Fripp,  Alfred  D.  (Brit.)  Born  at  Bristol,  1822.  Younger  brother 
of  George  A.  Fripp.  At  the  age  of  eighteen  he  went  to  London,  and 
studied  in  the  British  Museum  and  in  the  Royal  Academy.  Like  his 
brother  he  has  exhibited  regularly  at  the  Gallery  of  the  Society  of 
Painters  in  Water-Colors  since  1844,  when  he  sent  his  "Poacher's 
Hut."  Among  his  earlier  works,  generally  of  British  and  Irish 
scenes  and  character,  are,  "  The  Irish  Courtship,"  "  The  Irish 
Mother,"  "  Irish  Piper,"  "  The  Islet  Home,"  and  "  The  Fisherman's 
Departure."  More  recently  he  has  contributed  Italian  views  and 
peasants,  "  Pompeii,"  "  An  Italian  Cottage  Door,"  "  Neapolitan  Pil- 
12*  ...  R 


274     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


grims,"  and  "  Passing  the  Cross  at  Ave  Maria,"  in.  the  Internationa) 
Exhibition  of  1863,  etc. 

"  '  Tlie  Quarry  Path,'  by  Alfred  Fripp  [Water-Color  Exhibition  of  1877],  for  purity  of 
coloring,  excellence  of  perspective,  delicacy  of  touch,  and  tenderness  of  outline,  is  unex- 
celled in  the  gallery.'"'  —  Art  Journal,  February,  1877. 

Frith,  William  Powell.  (Brit.)  Member  of  Royal  Academies  of 
London,  Belgium,  Stockholm,  and  Vienna.  Born  in  Yorkshire,  1819. 
Entered  the  schools  of  the  Royal  Academy,  London,  in  1837.  Ex- 
hibited his  first  picture,  the  head  of  a  child,  at  the  British  Institution 
in  1839.  Exhibited  his  first  picture  in  the  Royal  Academy,  in  1840, 
"  Malvolio  and  the  Countess  Olivia,"  which  was  highly  praised.  Among 
his  early  works  are,  "  An  English  Merry- Making,  One  Hundred  Years 
Ago,"  "  Coming  of  Age,"  "  The  Parting  between  Leicester  and  the 
Countess  Amy,"  "  Pope's  Love- Making  to  Lady  Mary  Wortley  Mon- 
tagu," "  John  Knox  and  Mary  Queen  of  Scots,"  "  Hogarth  at  Calais," 
and  others  equally  well  known  by  the  engravings  of  them.  In  1845, 
when  he  was  elected  an  Associate  of  the  Royal  Academy,  he  con- 
tributed "  The  Village  Pastor  "  ;  in  1853  he  was  made  Academician ; 
in  1854  he  painted  "  Life  at  the  Seaside,"  and  in  1858,  "  The  Derby 
Day  "  (probably  his  best-known  work,  and  now  in  the  National  Gal- 
lery, London).  His  "  Railway  Station  "  was  exhibited  in  1862.  For 
this  he  received  £  9,000  ;  the  purchaser,  a  dealer,  resold  it  with  the 
subscription  list  to  the  engraving  for  £  16,000  ($80,000).  His  "  Mar- 
riage of  the  Prince  of  Wales"  (R.  A.,  1865),  painted  for  the  Queen, 
and  sent  by  her  to  the  Centennial  Exhibition  in  Philadelphia,  in  1876, 
brought  him  £  3,000  from  Her  Majesty,  and  £  5,000  for  the  right  of 
engraving.  He  exhibited  at  the  Royal  Academy  in  1863,  "  Juliet"  ; 
in  1869,  "  Hope  and  Fear,"  "  Nell  Gwynn,"  and  "  Malvolio  "  ;  in  1870, 
*'  Sir  Roger  de  Coverley  and  the  Perverse  Widow,"  "  Amy  Robsart 
and  Janet  Pride,"  and  "  At  Homburg"  ;  in  1872,  "  Lord  Toppington 
describes  his  Daily  Life,"  "Henry  VIII.  and  Anne  Boleyn  Deer-Shoot- 
ing at  Windsor,"  " The  Miniature,"  and  "  The  Love-Letter"  ;  in  1873, 
"A  London  Flower-Girl,"  "A  Boulogne  Flower-Girl,"  " Breakfast- 
Time,"  and  the  "Winning  Hazard";  in  1874,  "Prayer,"  "Sleep," 
"Pamela,"  and  "  Wandering  Thoughts  "  ;  in  1875,  "Black  and  Blue 
Eyes,"  "  Polly  Peachum,"  "  New  Ear-Rings,"  and  "  St.  Valentine's 
Day  "  ;  in  1876,  "  A  Scene  from  the  <  Vicar  of  Wakefield,'  "  "  Beneath 
the  Doge's  Palace,  Venice,  in  1460,"  and  "  The  Lover's  Seat,"  besides 
portraits  of  Mrs.  Rousby,  Mr.  Sothern,  and  others  in  different  sea- 
sons. His  "  Road  to  Ruin,"  in  1878,  a  series  of  five  pictures,  attracted 
much  attention.  "  The  Derby  Day  "  and  others  were  at  Paris  the 
same  year. 

"Mr.  Frith  is  the  most  fortunate  example  hitherto  known  in  our  art  of  the  happy 
union  of  undeniable  artistic  ability  with  universal  popularity  of  subject."  —  Hamerton'? 
Thoughts  about  Art. 

"  I  am  not  sure  how  much  power  is  involved  in  the  production  of  such  a  picture  as 
this  [ '  The  Derby  Day ']  ;  great  ability  there  is  assuredly,  long  and  careful  study,  con- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  275 


siderable  humor,  untiring  industry,  all  of  them  qualities  entitled  to  high  praise,  which 
I  doubt  not  they  will  receive  from  the  delighted  public  The  drawings  of  the  dis- 
tant figures  seem  to  me  especially  dexterous  and  admirable  ;  but  it  is  very  difficult  to 
characterize  the  picture  in  accurate  general  terms.  It  is  a  kind  of  cross  between  John 
Leech  and  Wilkie,  with  a  dash  of  daguerreotype  here  and  there,  and  some  pretty  season- 
ings with  Dickens'  sentiments."  —  Ruskin's  Modem  Painters. 

"Mr.  Frith's  '  Pamela  '  is  attractive  and  pleasing  ;  but  his  '  Railway  Station '  did  not 

gain  the  attention  here  that  it  did  in  England  Mr.  Frith  understands,  on  his  own 

ground,  that  to  be  popular  it  is  always  necessary  to  get  down  to  the  level  of  popularity. 
His  pictures  show  an  entire  lack  of  mystery ;  they  are  crowded  with  numerous  inci- 
dents and  stories,  well  told  and  calculated  to  amuse  the  curious.  But  this  is  not  art  in 
any  high  acceptation  of  the  term.  The  stories  once  read,  we  do  not  return  to  Mr.  Frith's 
pictures  again  and  again,  as  we  are  instinctively  drawn  by  great  works  of  art."  —  Prof. 
Weir's  Official  Report  of  the  American  Centennial  Exhibition  of 1876. 

Fromentin,  Eugene.  (Fr.)  Born  at  La  Kochelle  (1820  -  1876). 
Officer  of  the  Legion  of  Honor.  Studied  landscape-painting  under 
Cabat,  and  traveled  in  the  East  from  1842  to  '46.  He  visited  Algiers, 
and  in  every  place  made  many  sketches.  His  works  represent  Orien- 
tal subjects,  almost  without  exception.  His  "Couriers,  Country  of 
the  Ouled-Nays  in  Springtime"  (1861)  and  "A  Falcon  Hunt  in 
Algiers  "  (1863)  are  in  the  Luxembourg.  In  1876  he  exhibited  "  The 
Nile"  and  "Souvenir  of  Esneh,"  both  in  Upper  Egypt;  in  1874, "  Souve- 
nir of  Algiers  "  and  "  A  Ravine  in  Algiers  "  ;  in  1872,  two  scenes  in 
Venice  ;  in  1869,  "A  Fantaisie"  and  "  The  Halt  of  Muleteers,"  both 
in  Algiers  ;  in  1868,  "  Arabs  attacked  by  a  Lioness  "  and  "  Centaurs  "  ; 
etc.  Fromentin  published  in  the  "  Pays  "  some  account  of  his  travels. 
He  also  made  some  excursions  for  the  "  Committee  of  Historic  Monu- 
ments," the  results  of  which  he  published  under  the  following  titles  : 
"Visites  Artistiques,"  "  Simple  Pelerinages  "  (1852  to  '56),  "  Une 
annee  dans  le  Sahel "  (1858).  This  artist  wrote  a  romance  called 
"Dominique"  (1863),  which  was  a  successful  book.  In  London  at 
Christie's,  March,  1874,  "The  Siesta"  sold  for  376  guineas,  and  "  Ren- 
dezvous of  Arab  Chiefs,"  850  guineas.  At  the  Oppenheim  sale,  Paris, 
1877,  "  The  Ravine  "  sold  for  15,000  francs.  At  the  Walters  Gallery, 
Baltimore,  is  a  picture  of  "Arabs  and  Horse,"  by  this  artist. 

"  Fromentin's  ambition  has  led  him  to  hitherto  untrodden  fields.  His  observation  is 
broad  and  felicitous.  He  transfers  Arab  life,  wild  and  picturesque,  to  his  canvases.  We 
enjoy  the  freedom  of  the  desert,  and  rejoice  at  escaping  the  confinement  and  artifice  of 
the  studio  His  pulses  beat  quick  music  to  its  surrounding  life.  He  sees  the  un- 
tamable activity  of  nomad  existence  ;  the  splendid  development  that  it  bestows  upon  the 
physical  man ;  its  modern  realistic  aspect  on  its  bright  and  story-telling  side.  The  ring- 
ing gallop  of  his  high-bred  Arab  horses,  obedient  to  the  sympathetic  action  of  their 
Sheik  riders  as  they  pursue  their  chase,  are  vividly  given.  There  is  no  unworthy  trick 
of  pencil  or  straining  after  effect,  but  conscientious,  rapid,  and  telling  painting.  Some- 
thing is  wanting  in  his  qualities  of  atmosphere,  which  is  apt  to  be  thick  and  unbreath- 
able,  and  of  his  still  water,  which  too  much  resembles  ice  ;  but  these  are  deficiencies 
scarcely  felt  in  the  healthy  ensemble  of  his  work."  —  Jarves,  Art  Thoughts. 

"  Thanks  to  the  conquest,  Fromentin  is  able  to  be  an  African  without  ceasing  to  be  a 
Frenchman,  and  if  he  distinctly  affirms  his  taste  for  the  life  of  the  desert,  his  painted  and 
written  works  manifest  the  most  delicate  and  refined  sentiment  of  a  Parisian  of  pure  ances- 


276     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


try.  His  Arabs  have  spirit  even  in  che  slightest  fold  of  their  "burnous,  and  the  parched  soil, 
that  recovers  with  difficulty  a  meager  vegetation,  takes  an  unexpected  charm  under  his 
graceful  and  resolute  touch.  Take  note  that  in  his  pictures  the  desert,  in  order  to  he  pleas- 
ing to  the  eye,  loses  nothing  of  its  grandeur,  and  that  the  Arabs  preserve  all  their  instinc- 
tive life  ;  it  is  the  narrator  who  is  amusing ;  it  is  the  recital  that  is  intelligent.  An 
attentive  observer,  Fromentin  wishes  to  neglect  nothing,  and  the  exactness  of  his  pictures 
is  affirmed  by  all  travelers  ;  at  the  same  time  he  has  his  own  manner  of  saying  and  rep- 
resenting things  which  gives  them  an  especial  keenness.  We  must  confess,  on  the  other 
hand,  that  the  scenes  which  he  loves  to  reproduce  are  marvelously  suited  to  his  talent/ 
and  that  no  better  interpreter  of  Arab  manners  could  be  found. "  —  RenIs  M&nard,  Ga- 
zette des  Beaux-Arts. 

"  Forgetfulness  will  never  come  for  Eugene  Fromentin.  He  will  be  marked  in  the 
beautiful  and  strong  French  school  of  the  nineteenth  century,  not  among  the  grandest 
painters,  but  among  the  charming  masters  of  the  second  rank,  who  are  more  pleasing  to 
the  greater  number  than  are  the  powerful  creators  and  the  austere  lovers  of  the  beauti- 
ful. He  has  taken  his  place  among  the  Orientalists,  beside  Decamps  and  Marilhat,  less 
vigorous  than  the  former,  less  original  than  the  latter,  perhaps  more  precise  in  drawing, 
more  correct  in  style,  more  impressive  than  both.  One  cannot  foresee  whether  the 
school  of  Orientalists,  which  dates  scarcely  a  half-century,  will  long  remain  the  fashion  ; 
but  these  three  masters  assure  to  this  school  one  luminous  page  in  the  history  of  Art." 
—  Henry  Houssaye,  Revue  des  Deux-Mondes,  July,  1877. 

Frost,  William  Edward,  R.  A.  {Brit.)  (1810-  1877.)  Entered 
the  schools  of  the  Royal  Academy  in  1829,  painting  portraits  for 
some  years  in  great  numbers  and  with  considerable  success.  A  dis- 
ciple and  follower  of  Etty,  he  early  made  a  study  of  the  nude  female 
figure,  going  to  classic  mythology  for  his  subjects.  Among  his  earlier 
works,  are  "  Bacchanalian  Dance,"  in  1844  ;  "  Una  and  the  Wood 
Nymphs,"  in  1847  ;  "  May  Morning,"  in  1853  ;  "  The  Sirens  "  and 
"  The  Daughters  of  Hesperus,"  in  1860  ;  "  The  Graces  and  Loves  " 
and  "  Sea  Nymphs,"  in  1863;  "The  Death  of  Adonis,"  in  1865; 
"Puck," in  1869  ;  "The  Haunt  of  Diana"  and  "Cupid  Disarmed," 
in  1870  ;  and  "  Musidora,"  in  1871.  He  was  elected  an  Associate  of  the 
Royal  Academy  in  1846,  and  Academician  in  1872,  when  he  exhibited 
"  Nymph  and  Cupid  "  (his  diploma  work).  He  sent  to  the  Royal 
Academy,  in  1874,  "  A  Bacchante,"  his  last  important  work.  Many  of 
these  pictures  have  become  familiar  by  photography  and  engraving. 

"  Less  ambitious  than  Etty  to  appear  as  a  great  colorist,  or  rather  less  lavish  of  his 
pigments,  and  less  daring  in  their  application,  Frost  is  not  less  true  to  nature  ;  while  in 
correctness  of  drawing,  delicacy  of  feeling,  and  in  female  beauty  of  the  most  refined 
expression,  his  works  far  surpass  those  of  his  great  prototype."  —  Art  Journal,  Septem- 
ber, 1877. 

Frullini,  Prof.  Cav.  Luigi.  (Ital.)  The  wood-carvings  of  this 
Florentine  artist  are  well  known  in  England  and  the  United  States. 
They  are  in  many  fine  houses,  both  as  decorations,  in  the  way  of 
friezes,  ceilings,  chimney-pieces,  etc.,  and  in  articles  of  furniture,  pic- 
ture-frames, and  ornamental  boxes,  medallions,  and  articles  of  fantasia. 
The  library  of  Mr.  Wetmore's  fine  house,  at  Newport,  R.  I.,  is  finished 
in  Frullini's  work,  and  is  remarkable  for  its  artistic  beauty  in  design 
and  execution.  Frullini  received  a  medal  at  the  Philadelphia  Exhibi- 
tion, 1876,  and  Professor  Weir,  in  his  official  report,  said,  "  The  wood- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  277 


carvings  of  Luigi  Frullini  were  worthy  of  admiration,  exhibiting 
great  beauty  of  design,  and  very  subtle  skill  in  execution."  At  the 
Exposition  at  Paris  in  1878  his  work  attracted  much  attention,  and 
every  article  exposed  there  was  sold  very  early  in  the  season. 

Fuhrick,  Joseph.  (Bohemian.)  Born  at  Kragau  (1809-1876). 
Professor  at  the  Academy  of  Vienna.  Member  of  several  other  acade- 
mies, and  chevalier  of  various  orders.  Studied  at  Prague,  Vienna, 
and  Rome.  He  joined  the  Overbeck  school,  and,  like  all  other  "  Naz- 
arites,"  was  employed  in  the  decoration  of  the  Villa  Massimi.  He  has 
made  engravings  after  his  principal  works,  among  which  are  several 
subjects  drawn  from  the  history  of  Bohemia.  Among  his  pictures  are, 
the  "  Triumph  of  Christ,"  "  Vow  of  St.  Aloysius,"  fourteen  large  car- 
toons illustrative  of  the  "  Way  of  the  Cross,"  "  The  Confirmation  at 
Samaria  by  the  Apostles  Peter  and  John,"  "  Preaching  of  St.  Peter," 
"  St.  Paul  at  Athens,"  "  Nehemiah,"  and  "  Jacob  and  Rachel." 

Fuller,  George,  A.  N.  A.  (Am.)  Born  at  Deerfield,  Mass.,  1822. 
At  the  age  of  twenty  he  modeled  a  head  or  two,  and  drew  from  casts  in 
the  studio  of  H.  K.  Brown  at  Albany,  N.  Y.,  for  six  months,  profiting 
greatly  by  the  fellowship  and  advice  of  that  artist.  Later  he  painted 
portraits  in  several  country  towns,  and  settled  in  Boston  at  the  end  of 
three  years,  studying  the  works  of  Stuart,  Copley,  and  Allston.  He 
also  received  instruction  in  the  Boston  Art  Association.  He  lived  in  ^ 
New  York  for  twelve  years,  and  went  to  Europe  in  the  winter  of 
1859,  spending  eight  months  in  the  art  centers  of  the  Continent  and 
in  London.  Between  1860  and  1876  he  devoted  himself  to  study  in 
this  country,  without  instruction  and  did  not  paint  for  the  public 
until  the  latter  year,  when  he  took  some  of  his  landscapes  and  ideal 
heads  to  Boston,  of  which  the  Art  Journal  of  July,  1877,  says  :  "  One 
canvas,  representing  some  women  washing  at  a  trough,  shaded  by  wide- 
spread trees,  is  full  of  delicacy  and  of  pleasant  suggestiveness."  In  1857 
he  was  elected  an  Associate  of  the  National  Academy,  and  exhibited 
the  following  spring  a  successful  portrait  of  H.  K.  Brown,  owned  by 
Morris  Davis  of  Philadelphia.  44  Turkey  Pasture  in  Kentucky  "  and 
"  By  the  Wayside,"  two  of  the  most  important  of  his  later  pictures, 
were  on  exhibition  at  Boston  in  the  winter  of  1878.  His  studio  is 
now  in  that  city.    [Died,  1884.] 

"  The  poetry  of  incident  in  the  few  canvases  of  George  Fuller  which  profess  to  tell 
a  story,  is  of  the  most  simple  and  tender  kind.  Its  heroes  and  heroines  are  almost 
always  children,  for  whom  he  seems  to  have  as  great  a  love  as  Edward  Frere,  whom 
at  times  he  resembles  in  treatment  as  well  as  in  subject."  —  Three  Boston  Painters, 
Atlantic,  December,  1877. 

Fuller,  R.  H.  (Am,.)  A  native  of  Boston.  He  received  a  few 
valuable  hints  from  Morvillier,  with  whom  he  drew  from  nature,  but 
he  had  no  opportunities  for  art  study.  He  painted  landscapes  ex- 
clusively, and  his  works  are  in  some  of  the  finest  collections  of  Boston. 
He  followed  his  profession  under  many  difficulties,  painting  by  day 


278     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  working  at  night  as  a  member  of  the  police  force  of  Chelsea,  near 
Boston.  He  died  from  the  effects  of  overwork  in  1871.  A  landscape 
by  Fuller,  belonging  to  Thomas  Wiggles  worth,  was  at  the  Mechanics' 
Fair  in  Boston  in  1878.  It  has  been  said  of  him  that  he  had  little 
originality,  but  owed  everything  to  his  retentive  memory,  which  ena- 
bled him  to  reproduce  anything  he  saw  in  the  way  of  landscape.  He 
is  said  to  have  made  a  wonderfully  clever  copy  of  a  Lambinet,  which 
he  had  seen  but  once,  and  then  only  for  a  few  moments. 

Funk,  Heinrich.  (Ger.)  Born  at  Herford,  1809.  Took  the  first 
prize  at  an  Exposition  in  Rouen.  Professor  of  landscape-painting  at 
Stuttgart.  Studied  under  his  father,  and  at  the  Dusseldorf  Academy, 
where  he  became  a  disciple  of  Lessing  and  Schirmer.  In  1836  he 
went  to  Frankfort,  and  removed  to  Stuttgart  in  1854.  He  is  a  skill- 
ful artist,  his  color  is  harmonious  and  his  drawing  excellent.  At 
the  National  Gallery  at  Berlin  is  his  "  View  of  a  Ruined  Castle,  with 
a  warm  Evening  Light." 

Furness,  William  H.  (Am.)  Born  at  Philadelphia  (1827  -1867). 
Studied  art  in  Dresden,  Munich,  Dusseldorf,  and  Paris.  He  settled 
in  Philadelphia  upon  his  return  from  Europe,  painting  portraits, 
and  subsequently  removed  to  Boston,  where  the  last  few  years  of 
his  professional  life  were  spent.  He  was  particularly  happy  in  his 
crayon  drawings,  devoting  himself  to  that  branch  of  art.  Among 
the  better  known  of  his  portraits  are  those  of  Lucretia  Mott,  Edith 
May,  Charles  Sumner,  Hamilton  Wilde,  and  others. 

Gabriel,  Paul  Joseph  Constantine.  (Belgian.)  Of  Brussels. 
Medal  at  Philadelphia,  where  he  exhibited  "  Morning  View  in  the 
Netherlands." 

Gail,  Wilhelm.  (Ger.)  Born  at  Munich,  1804.  Studied  at  the 
academy  of  his  native  city,  and  later  with  Peter  Hess.  In  1825  he 
accompanied  Baron  Malsen  to  Turin,  Rome,  Naples,  and  Psestum, 
where  he  sketched  the  Temple  of  Neptune,  from  which  he  afterwards 
painted  a  fine  picture.  In  1827  he  returned  to  Munich,  and  turned 
his  attention  to  making  a  collection  of  lithographs,  illustrative  of  his 
Italian  journey.  In  1830  he  visited  Paris,  Normandy,  and  Venice, 
where  he  studied  architecture.  In  1832  he  went  to  Spain,  and  while 
there  made  thirty  lithographs  of  views  in  that  country.  His  best 
works  are  in  the  Carlsruhe  Museum  and  the  Pinakothek  of  Munich. 
In  1864  he  designed  plans  and  models  for  a  national  monument  in 
Bohemia.  He  has  also  made  some  etchings.  In  the  National  Gal- 
lery at  Berlin  is  his  "  Cloister  of  San  Martino,  near  Ivrea  in  Pied- 
mont." 

Gale,  William.  (Brit.)  Born  in  London,  1832.  Entered  the 
schools  of  the  Royal  Academy  in  1841,  winning  three  silver  medals. 
He  first  exhibited,  in  1845,  "  Young  Celadon  and  his  Amelia."  Among 
his  earlier  works  are,  "  The  Voice  of  Mercy,"  "  A  Merrie  Mood," 
"  Chaucer's  Dream."    In  1851  he  went  to  Italy,  spending  some  years 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  279 


in  Rome,  and  painting  there  "  A  Peep  at  the  Carnival/'  "  Going  to 
the  Sistine  Chapel/'  "An  Italian  Girl/'  and  others.  In  1862  and 
again  in  1867  he  visited  the  Holy  Land,  turning  his  attention  gen- 
erally after  that  period  to  subjects  of  a  scriptural  character :  "  The 
Return  of  the  Prodigal,"  in  1869  j  "Cupid's  Ambassador,"  in  1871  ; 
"Abraham  and  Isaac  on  the  Way  to  Sacrifice,"  in  1872  ;  " Eyes  to  the 
Blind,"  in  1873  ;  "  Eastern  Springtime/'  in  1874  ;  "  Going  in  for  the 
Competitive,"  in  1875  ;  "  The  Love-Tale,"  in  1876  ;  "  Spoils  of  War/' 
in  1877  ;  "  An  Algerian  Interior,"  in  1878. 

1  He  has  also  painted  "  Nearing  Home,"  "  Sick  and  in  Prison,"  "  Chess- 
Players,"  "  Guard  your  Queen,"  "  Two  Lovers,"  "  Little  Grandma," 
etc.    His  "  Spoils  of  War  "  was  at  Paris  in  1878. 

"  Indeed,  the  handling  of  'The  Weeping-Place  in  Jerusalem'  [R.  A.,  1863]  by  William 
Gale  has  been,  as  in  other  pictures  by  this  same  elegant  pencil,  almost  overfinished  in  its 
minuteness.  The  figures  are  drawn  with  great  care,  and  the  strange  architecture  of  the 
ancient  wall  is  skillfully  discriminated."  —  Palgrave's  Essays  on  Art. 

Gallait,  Louis.  (Belgian.)  Born  at  Tournay,  1810.  Chevalier  of 
the  Order  of  the  Crown  of  Oak  of  Holland.  Chevalier  of  the  Legion 
of  Honor.  Member  of  the  Academy  of  Antwerp,  and  Institute  of 
France.  Studied  at  the  Academy  of  his  native  city,  under  Celsthue, 
and  in  the  atelier  of  Hennequin.  He  took  his  first  prize  at  Ghent 
for  "  Christ  and  the  Pharisees."  He  then  went  to  the  Academy  of 
Antwerp.  The  city  of  Tournay  bought  his  "  Christ  restoring  Sight  to 
the  Blind  Man,"  put  it  in  the  Cathedral,  and  granted  to  Gallait  a  sum 
of  money  to  enable  him  to  study  in  Paris,  where  he  went  about  1834. 
"  The  Beggars,"  exhibited  there  about  this  time,  was  bought  for  the 
Museum  of  Liege.  In  1836  he  sent  to  Brussels  "  Montaigne  visiting 
Tasso  in  Prison,"  which  has  always  been  considered  one  of  his  best 
efforts,  and  was  bought  by  the  King  of  Belgium.  Soon  after  this  he 
was  commissioned  by  the  French  government  to  paint  the  "  Battle  of 
Cassel "  for  the  Gallery  at  Versailles.  His  "  Temptation  of  St.  An- 
thony "  (1848)  was  also  purchased  by  the  King  of  Belgium.  In  1862, 
at  the  International  Exhibition,  was  his  "  Last  Moments  of  Count. 
Egmont,"  now  in  the  Royal  Museum  of  Berlin.  "  Queen  Joanna  un- 
covering the  Face  of  her  Dead  Husband,"  purchased  for  the  gallery 
of  the  Queen  of  Holland,  is  a  chef-d'oeuvre,  as  is  also  "  The  Oath  of 
Vargas "  of  the  San  Donato  Gallery.  "  The  Taking  of  Antioch," 
"  Count  Baldwin  crowned  at  Constantinople,  1204 "  (at  Versailles), 
and  "  Counts  Egmont  and  Horn  listening  to  the  Sentence  of  Death  "  are 
other  historical  subjects  by  Gallait.  Among  his  pictures  of  another 
type  are,  "Forgotten  Sorrow,"  "The  Family  of  a  Prisoner,"  etc.  At 
London,  in  1862,  Gallait  was  entertained  at  a  banquet  given  by  the 
artists  of  England,  and  other  admirers  of  his.  At  the  Latham  sale  in 
New  York,  1878,  "  Columbus  in  Prison  "  (44  by  32)  sold  for  $  2,650. 
At  the  Withering  sale,  Paris,  1876,  "  Godfrey  de  Bouillon  proclaimed 
Emperor  at  Constantinople,"  a  magnificent  water-color,  sold  for  4,020 


280     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


francs.  At  the  Strousberg  sale,  Paris,  1874,  "  Misfortune  "  brought 
£  1,000;  at  a  London  sale,  in  1867,  "Art  and  Liberty,"  1,200 
guineas.  It  is  said  that  while  Gallait  was  painting  "  The  Plague  at 
Tournay,"  the  Belgian  government  offered  him  £  5,000  for  it.  This 
artist  has  been  for  some  time  engaged  in  decorating  the  Belgian  Senate 
Chamber  with  fifteen  historical  portraits,  of  warriors,  legislators,  and 
patrons  of  art  and  letters  who  have  had  an  influence  upon  the  affairs  of 
Belgium.  These  works  are  much  praised,  and  the  gold  backgrounds 
which  he  uses  add  much  to  their  decorative  properties. 

"  His  style,  whether  shown  in  an  elaborate  composition  or  in  some  simple  subject, 
though  it  be  merely  a  portrait,  is  essentially  grand.  His  ideas  are  always  noble  and 
elevated,  and  they  are  realized  on  the  canvas  with  the  power  of  a  master  hand.  His 
coloring  is  of  the  highest  order,  but  in  striving  for  brilliancy  he  never  verges  upon  gar- 
ishness  or  vulgarity.  To  adopt  the  language  of  one  of  his  own  countrymen,  '  he  is  of 
the  race  of  artists  who,  comprehending  the  grandeur  and  dignity  of  art,  have  never  pros- 
trated their  pencils  to  the  follies  and  infatuations  of  the  day,  nor  flattered  the  passions 
and  intellectual  weaknesses  of  the  crowd.'"  —  James  Dafforne,  Art  Journal,  April,  186G. 

Gardner,  Elizabeth  Jane.  (Am.)  A  native  of  Exeter,  N.  H. 
She  has  spent  the  greater  part  of  her  professional  life  in  Paris, 
studying  under  Hngues  Merle,  Lefebvre,  and  Bouguereau.  Eeceived 
honorable  mention  at  Paris  Salon,  1879.  Among  her  more  impor- 
tant works  are,  "  Cornelia  and  her  Jewels,"  exhibited  at  Boston;  "  Cin- 
derella," in  the  Paris  Salon  of  1872;  "  Corinne,"  Paris,  1874;  "  Moses 
in  the  Bulrushes,"  Paris,  1878  ;  and  "  Maud  Muller,"  still  in  her 
studio.  To  the  Philadelphia  Exhibition  of  1876  she  sent  "  Corinne  '* 
and  "  The  Fortune-Teller, "  receiving  a  medal;  to  the  Paris  Expo- 
sition of  1878,  "  Ruth  and  Naomi." 

"  Miss  Gardner,  as  usual,  stands  well  out  from  all  rivals  among  the  lady  artists  resident 
in  Paris,  and  this  year  she  bids  fair  to  produce  a  conception  as  exquisite  as  her  thoughtful 
and  finished  painting  of  '  Corinne.'  '  Ruth  and  Naomi '  is  the  subject  which  Miss  Gard- 
ner has  chosen  this  year;  and  her  manner  of  treating  it  shows  all  the  careful  work  and 
brilliant  imagination  which  have  already  stamped  her  pictures  with  the  warranty  of 
genius.  Ruth  and  Naomi  are  standing  together  m  the  gray  light  of  an  Eastern  morn- 
ing, at  the  natural  time  for  beginning  a  journey,  while  the  other  daughter-in-law  of  the 
bereaved  woman  is  seen  just  entering  a  Moabitish  city  in  the  distance.  The  surrounding 
landscape  is  managed  with  much  boldness  and  truth  to  nature,  and  wears  a  peculiarly 
Eastern  aspect ;  while  the  primitive  Asiatic  costumes  are  composed  with  as  much  art  as 
learning.  The  entreating  manner,  half  trust,  half  supplication,  with  which  Ruth  lays 
her  head  on  the  elder  woman's  shoulder,  has  an  extremely  delicate  pathos  in  it.  For  the 
rest,  the  faces  are  good,  and  both  authentic  Oriental  types  of  womanhood.  They  are 
also  well  contrasted,  and  the  harmony  of  colors  throughout  the  whole  picture  is  per- 
fect. "  —  London-  Daily  News,  March  31,  1877. 

"  Miss  Elizabeth  Gardner  exhibits  at  the  Paris  Salon,  '  The  Mother  of  Moses  parting 
from  her  Child,' a  companion  picture  to  her  'Ruth  and  Naomi'  of  last  year.  The 
mother  is  kneeling  in  an  attitude  of  prayer  on  the  muddy  soil  of  the  Nile,  4  on  the  flags 
by  the  river's  brink.'  One  hand  reluctantly  recedes  from  the  ark  of  bulrushes  con- 
taining her  infant,  whom  she  has  committed  to  the  water.  The  other  hand  is  implor- 
ingly raised,  and  her  eyes  are  turned  heavenward.  The  unconscious  baby,  asleep,  is  mar- 
velously  pretty.  Behind  them  the  sister  Miriam  stands,  close  to  her  mother,  her  hand 
seeting  on  her  shoulder,  while  the  other  pushes  aside  the  tall  reeds,  which  form  a  rick 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  281 


background  to  the  figures.  In  the  distance  appears  an  Egyptian  landscape,  obelisks, 
and  a  temple.  Miriam's  face,  a  pure  Jewish  type  of  beauty,  is  yet  unwrinkled  by  care  ; 
with  cheerful  hope  she  is  gazing  into  the  distance,  obeying  the  injunction  to  watch. 
This  touching  incident  of  Bible  history,  says  the  Tribune's  correspondent,  has  rarely 
been  treated.  Miss  Gardner  has  told  the  story  with  truthful  simplicity,  and  the  execu- 
tion of  the  picture  is  worthy  the  subject."  —  Boston  Transcript,  July  2,  1878. 

Garneray,  Ambrose  Louis.  (Fr.)  Born  at  Paris  (1783-1857). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  his  father,  who  had 
studied  under  David.  In  1796  this  artist  commenced  a  sailor's  life, 
which  lasted  ten  years.  He  made  his  debut  at  the  Salon  of  1816.  In 
1817  he  was  appointed  painter  to  the  Duke  of  Angouleme,  and  in 
1833  Director  of  the  Museum  at  Rouen.  Later,  he  passed  six  years 
at  Sevres,  where  he  painted  pictures  to  be  copied  by  others  on  por- 
celain. He  received  a  pension  for  the  discovery  of  a  new  kind  of 
canvas,  which  also  gained  him  a  medal  at  the  Exposition  of  1855. 
Among  his  works  are,  "An  Incident  of  the  Battle  of  Navarino,"  now 
at  Nantes  ;  "  The  Capture  of  the  Kent  by  the  Confidence,"  at  Ro- 
chelle  ;  "  View  of  the  Straits  of  Furnes,"  at  Marseilles ;  "  The  Frigate 
Virginia  attacking  an  English  Squadron,"  at  Rochefort ;  "  Cod-Fish- 
ing on  the  Banks  of  Newfoundland,"  at  Rouen  ;  "  The  Battle  of 
Duguenes,"  at  Versailles  ;  etc.  Garneray  wrote  an  account  of  his  ad- 
ventures. He  also  made  more  than  one  hundred  engravings  of  sea- 
ports in  different  countries. 

Gamier,  Jean-Louis-Charles.  (Fr.)  Born  at  Paris,  1825.  Mem- 
ber of  the  Institute.  Correspondent  of  the  Royal  Institute  of  Eng- 
lish Architects.  Officer  of  the  Legion  of  Honor.  In  1842,  after 
preliminary  studies,  he  entered  l'Ecole  des  Beaux-Arts,  where  he 
remained  six  years  under  the  direction  of  Leveil  and  Hippolyte  Lebas. 
He  then  took  the  grand  prize  in  architecture.  While  in  Greece  he 
measured  the  Temple  of  Jupiter  Parhellenien,  and  in  1852  made 
the  polychrome  restoration  of  it  which  was  exhibited  in  Paris  in  1853 
and  '55.  After  a  journey  to  Constantinople  Gamier  returned  to 
Paris,  and  was  employed  as  under  Inspector  to  the  works  on  the 
tower  of  Saint- Jacques  la  Boucherie.  In  1861  his  plan  for  the  New 
Opera  at  Paris  was  the  one  chosen,  and  for  years  he  was  occupied  en- 
tirely with  that  immense  labor,  for  which  he  has  been  so  praised  and 
censured  that  it  may,  perhaps,  be  best  expressed  as  blessed  and  cursed. 
He  has  here  lavished  millions  of  francs,  and  has  piled  up,  one  on  the 
other,  all  the  various  products  of  the  art  of  his  time.  Garnier  has 
also  written  and  published  essays  on  architectural  subjects,  among 
which  are  "  A  travers  les  Arts  "  and  an  explanation  of  the  Temple  of 
iEgina. 

"  Of  architecture  in  France,  in  our  day,  about  the  same  may  be  said  as  of  sculpture. 
Much  diligence,  careful  study,  frequent  good  taste,  a  general  combination  of  pleasing 
effects  in  the  laying  out  of  streets,  are  evident,  but  very  little  sign  of  originality  any- 
where. In  civic  and  domestic  architecture  the  English  seem  to  be  in  advance,  and 
also  in  ecclesiastical  architecture,  if  one  can  judge  by  the  chm-ch  of  St.  Anne  at  Avray 
and  the  Cathedral  at  Boulogne,  both  just  completed  with  great  elaboration  and  expendi- 


282     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ture  of  Peter-pence,  and  both  alike  miracles  of  bad  taste.  But  the  New  Opera- 
House  at  Paris,  an  ambitious  conception,  possessed  of  great  merit  in  parts,  if  not  as  a 
whole,  claims  our  respectful  attention.  It  is  a  genuine  outgrowth  of  French  national 
character  during  the  last  Empire,  and  seems  offered  to  the  world  as  a  challenge  to  criti- 
cism. No  expense  has  been  spared  ;  the  best  art  talent  of  the  country  was  called  in  to 
aid  in  its  completion,  and  it  seems  to  say  to  the  beholder,  « What  can  you  object  to  this 
being  accepted  as  the  typical  architectural  style  of  the  nineteenth  century?'  « Much, 
every  way,'  we  might  reply,  but  neither  room  nor  inclination  allows  us  to  expatiate  on 
the  subject  as  we  should  like  ;  and  as  the  building  has  been  sufficiently,  and  sometimes 
too  severely,  criticised  in  many  quarters,  we  shall  confine  ourselves  to  a  simple  sketch 
of  a  subject  that  might  well  be  expanded  into  a  volume,  and,  indeed,  volumes  have  been 
written  upon  it.  The  last  one  is  an  answer,  by  M.  Gamier  the  architect,  in  reply  to  his 
critics,  and  a  very  spicy  work  it  is.  The  building  is  in  the  form  of  an  irregular  parallel- 
ogram, each  side  facing  a  street,  and,  in  every  case,  more  or  less  ornate.  The  chief 
facade  fronts  the  boulevards,  and  is  surmounted  at  the  two  angles  by  magnificent  bronze 
gilded  eagles  in  the  act  of  soaring.  In  the  rear  rises  the  main  body  of  the  edifice, 
crowned  by  another  gilded  colossal  group.  This  side,  while  richly  ornate,  is  chiefly  no- 
ticeable for  the  thirty  columns  which  support  a  heavy  cornice  ;  of  these,  sixteen  are 
enormous  monoliths,  brought  from  Italy,  and  after  the  Corinthian  order.  They  are  very 
handsome,  but  are  open  to  serious  criticism,  because,  if  any  ornament  in  architecture 
should,  above  all  others,  be  constructive,  it  is  a  row  of  columns,  especially  if  of  the  Greek 
styles.  Now  the  pillars  of  the  New  Opera  do  not  seem  to  support,  and  certainly  do 
not  sustain,  more  than  the  cornice,  which  is,  in  point  of  fact,  upheld  by  the  piers 
against  which  these  columns  are  placed.  No  constructive  necessity  for  them  exists  in 
their  present  position,  and  therefore  they  appear  there  wholly  for  decorative  purposes. 
Beside  many  minor  sculptures  and  medallions,  this  facade  is  embellished  with  four 
colossal  allegorical  groups,  representing  Lyric  Poetry,  by  Jouffroy ;  Music,  by  Guil- 
laume  ;  Dancing,  by  Carpeaux  ;  and  the  Lyric  Drama,  by  Perraud.  The  vestibules,  by 
their  well-arranged  and  imposing  dimensions,  prepare  one  for  the  grand  stairway,  or 
series  of  stairways,  supported  by  a  labyrinth  of  caryatides  and  clustered  columns,  and 
surmounted  by  a  vault  adorned  with  four  superb  paintings  by  Pils.  The  general  effect 
of  this  stairway  is  very  majestic,  and  must  be  conceded  to  be  a  masterpiece  of  genius,  — 
one  of  the  finest  productions  of  modern  architecture.  The  decorative  details  of  the 
grand  foyer  and  adjoining  vestibules  are  so  dazzling  in  splendor  as  almost  to  blind  one 
to  certain  constructional  errors  for  which  they  have  been  severely  criticised,  and  M. 
Gamier  himself  acknowledges  the  truth  of  some  of  these  strictures.  The  panels  be- 
tween the  doors  are  occupied  with  mirrors  of  plate-glass,  the  largest  ever  made  ;  the 
ceilings  are  inlaid  with  mosaics,  executed  by  Venetian  artists,  that  of  the  grand  foyer  is 
embellished  with  paintings  which  have  attracted  much  attention  in  art  circles  ;  they 
were  designed  and  executed  by  Paul  Baudry,  one  of  the  finest  of  living  colorists.  The 
main  hall  designed  for  the  performance  offers  nothing  very  original.  It  is,  of  course, 
radiant  with  the  pomp  and  magnificence  of  gilded  carvings  in  the  cinque-cento  style,  and 
the  ceiling  is  superbly  frescoed  ;  but  the  hall  is  far  too  small  for  such  vast  approaches, 
nominally  seating  about  two  thousand,  but  really  not  over  fifteen  hundred  with  com- 
fort or  possibility  of  enjoying  the  drama.  In  all  these  respects  it  must  yield  to  the  im- 
posing dimensions  and  elegant  simplicity  of  the  Albert  Hall,  in  London,  which  seats 
fifteen  thousand  with  comfort,  and  almost  equal  advantages  to  all  present  in  gaining 
the  chief  ends  for  which  such  a  building  is  constructed.  It  cannot  be  admitted  that 
any  distinct  order  of  architecture  has  been  even  suggested  in  the  Opera  building  of  the 
last  Empire.  The  details  and  plastic  decorations  have  been  borrowed  from  past  styles, 
and  may  be  called,  in  their  general  effect,  a  sort  of  bastard  Renaissance  ;  but  the  grand 
stairway  somewhat  compensates  for  the  defects  elsewhere  apparent,  and  indicates  that 
the  technical  knowledge  of  the  architect  has  been  assisted  by  a  streak  of  daring  or 
genius  altogether  uncommon  in  the  architecture  of  the  nineteenth  century."  —  S.  G.  W. 
Benjamin,  Contemporary  Art  in  Europe. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  283 


Gartner,  Johann  Philipp  Eduard.  (Ger.)  Born  at  Berlin,  1801. 
Member  of  the  Academy  at  Berlin.  He  studied  nnder  Miiller  of 
Darmstadt ;  he  was  then  apprenticed  in  a  porcelain  manufactory, 
where  he  remained  six  years.  He  then  traveled  in  Western  Prussia 
and  the  northern  countries  of  Europe.  He  received  a  commission  for 
some  decorative  painting  in  the  apartments  of  the  Princess  Louise,  and 
in  1824  a  more  important  order  from  the  King,  on  account  of  which 
he  went  to  Paris,  where  he  remained  three  years,  and  returned  with 
a  large  quantity  of  sketches.  In  1837  he  went  to  Russia,  where  he  was 
employed  for  some  time  by  the  Emperor.  At  the  National  Gallery 
of  Berlin  is  his  view  of  "  Parochial  Street,  formerly  called  the  Reetzen- 
Gasse."  At  the  Leipsic  Museum  is  an  "  Italian  Landscape  with  Fig- 
ures," painted  in  Rome  in  1859. 

Gastineau,  Henry.  (Brit.)  (1790  -  1876.)  Began  his  career  as 
an  engraver,  later  worked  in  oils,  but  for  the  better  part  of  his  long 
life  devoted  himself  almost  exclusively  to  water-colors.  First  ex- 
hibited in  1818,  and  annually  at  the  galleries  of  the  English  Water- 
Color  Societies  for  fifty-eight  years.  He  was  never  considered  a 
brilliant  painter,  but  he  treated  his  subjects  pleasantly  and  with 
taste,  and  in  his  style  was  finished  and  refined. 

Gatti,  Annibale.  (Ital.)  Born  at  Forli,  1828.  This  artist  is 
especially  happy  in  his  fresco-painting.  His  composition  is  effective, 
his  drawing  excellent,  and  his  coloring  harmonious.  His  "  Rinaldo 
and  Armida  "  and  "  Armida  with  Arabian  Chiefs  "  adorn  the  ceilings 
of  Mme.  Favart's  palace  in  Florence.  His  smaller  picture  of  "  Moliere 
reading  his  Comedies  to  his  Cook  "  is  very  pleasing,  and  has  been 
many  times  repeated. 

Gaucherel,  Le'on.  (Fr.)  Born  at  Paris,  1816.  Chevalier  of  the 
Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of  Viollet-le-Duc, 
with  whom  he  traveled  in  Italy  and  Sicily.  Gaucherel  is  a  de- 
signer and  engraver,  and  paints  in  water-colors  in  a  charming  man- 
ner. He  has  made  numerous  plates  for  the  "  Gazette  des  Beaux- Arts," 
for  the  "  Annales  Archeologiques,"  for  "  The  Imitation  of  Jesus  Christ,'* 
published  by  the  Imprimerie  Imperial e,  etc.  He  has  sent  many  of 
his  works  to  the  Salons,  where  he  has  received  five  medals.  He  was 
one  of  the  jury  of  admission  in  the  section  of  Engraving  at  the  Expo- 
sition of  1878. 

Gaaermann,  Friedrich.  (Ger.)  Born  at  Miesenbach  am  Schnee- 
oerg  (1807-1862).  Member  of  the  Academy  of  Munich.  This 
artist  was  very  fond  of  animals  as  a  boy,  and  kept  a  great  many  in 
cages.  He  desired  to  study  in  the  Academy  of  Vienna,  but  his  delicate 
health  prevented  his  doing  so,  and  he  was  obliged  to  content  him- 
self with  studying  from  nature.  He  also  made  some  copies  from  the 
best  German  animal-painters.  His  works  very  soon  found  a  market. 
He  traveled  much,  and  improved  his  manner  by  his  acute  powers 
of  observation.    He  reproduced  several  of  his  works  in  fine  etchings 


284     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  lithographs.  He  confined  himself  by  no  academical  rules,  but 
painted  what  nature  meant  to  him.  His  works  were  very  popular  in 
his  own  country.  Dr.  Max  Jordan  says  :  "  His  pictures  are  always 
careful  in  detail,  poetical  in  conception,  neat  and  finished  in  execu- 
tion." At  the  Berlin  National  Gallery  are  his  "  Watering- Place  in 
the  Tyrol"  and  "The  Village  Smithy."  At  the  Leipsic  Museum 
is  a  landscape  by  Gauermann  with  "Cows,  Sheep,  a  Horse,  etc."  At 
the  Arthaber  sale  in  Vienna,  1868,  "  The  Mountain  Smithy "  sold 
for  J502  ;  the  original  price  was  ,£150. 

Gauthier,  Charles.  (Fr.)  Born  at  Chauvery-le-Chatel,  1831. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Jouffroy.  He  made  his 
debut  at  the  Salon  of  186 L  His  "  Moderation,"  a  statue  in  marble, 
is  in  the  foyer  of  the  Opera-House  at  Paris.  Four  statues  of  children 
(in  bronze)  are  at  the  Fountain  of  the  Theatre-Francais.  At  the 
Salon  of  1877  he  exhibited  bronze  statues  of  "  St.  Quentin "  and 
"Charlemagne"  ;  in  1876,  "  France  triumphant  at  the  Exposition  at 
Vienna,"  a  statue  in  marble,  belonging  to  M.  Du  Sommerard,  and  a 
portrait  of  Mme.  Gauthier,  a  medallion,  in  stone ;  in  1872,  "  The 
Young  Poacher,"  in  marble  ;  etc. 

Gautier,  Etienne.  (Fr.)  Bom  at  Marseilles.  Pupil  of  Chatigny. 
Medals  in  1873  and  '78,  when  he  exhibited  "  St.  Cecilia"  ;  in  1875, 
a  portrait ;  in  1873,  "  St.  George." 

Gavarni,  real  name  Chevallier,  Guillaume  Sulpice.  Born  at 
Paris  (1804-1866).  Chevalier  of  the  Legion  of  Honor.  This 
artist  began  to  sketch  in  his  earliest  years,  but  was  twenty-one  when 
he  made  the  acquaintance  of  M.  Blaisot,  who  first  recognized  his 
talent,  and  gave  him  an  order  for  an  album  of  sketches.  Gavarni 
executed  on  lithographic  stones  a  series  of  grotesque  little  figures, 
which  were  published  under  this  strange  title,  "  fitrennes  de  1825. 
Recreations  diabolico-fantasmagoriques  par  H.  Chevallier."  These 
drawings  gave  little  promise  of  his  future  attainments,  and  as  he  had 
little  application,  his  advance  was  noj;  rapid.  In  the  autumn  of  1824 
he  went  to  Bordeaux  to  do  some  work  for  the  engraver  Adam,  but 
after  a  time  he  disagreed  with  his  employer  and  made  up  his  mind  to 
travel.  He  went  on  foot  to  the  Pyrenees,  and  at  Tarbes  made  the 
acquaintance  of  M.  Leleu,  Registrar  of  the  Signal  Service.  This  gen- 
tleman had  been  much  associated  with  artists  ;  he  found  a  congenial 
companion  in  Gavarni,  whom  he  took  into  his  house,  and  also  accom- 
panied in  many  excursions.  Gavarni  improved  his  opportunities  by 
sketching  the  peasants,  their  costumes,  customs,  etc.  He  returned  to 
Paris  in  May,  1828.  During  the  year  after  his  return  he  studied 
every  phase  of  Parisian  life  ;  his  curiosity  was  insatiable,  and  he 
sketched  continually,  but  he  earned  little  money,  and  was  beginning 
to  be  very  anxious  about  his  future,  when  a  friend  suggested  that  he 
should  show  some  of  his  water-colors  to  Susse,  the  picture-dealer. 
This  he  did,  and  Susse  declared  himself  ready  to  purchase  them  if 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  285 


they  were  signed  ;  after  a  moment's  thought  the  artist  took  a  pen  and 
wrote  "  Gavarni,"  and  from  that  moment  the  name  inscribed  on  the 
register  of  his  baptism  was  lost.  Immediately  his  sketches  were  the 
fashion  ;  he  could  sell  any  number  ;  fortunately  this  success  did  not 
make  him  careless  ;  he  studied  to  make  each  new  one  better  than  the 
last  ;  he  worked  from  nature,  and  reproduced  all  sorts  of  subjects, 
men,  animals,  landscapes,  ruins,  etc.  In  a  short  time  M.  ^mile  de 
Girardin  asked  him  to  design  for  "  La  Mode."  He  made  a  great  suc- 
cess, and  one  curious  in  such  matters  would  do  well  to  study  his  cos- 
tumes for  the  year  1829.  After  the  revolution  of  1830  he  made  some 
political  caricatures,  but  did  not  sign  them,  and  later  much  regretted 
making  them.  He  was  ambitious  to  become  a  painter  of  manners. 
He  made  illustrations  for  "  L' Artiste,"  executed  his  "  Studies  of  Chil- 
dren," "  The  Physiognomies  of  the  Population  of  Paris,"  and  became 
the  intimate  friend  of  Balzac.  Unhappily  the  artist  was  seized  with 
a  desire  to  be  a  man  of  letters  ;  he  established  the  "  Journal  des  gens 
du  Monde."  He  borrowed  money  ;  he  failed  in  his  undertaking,  and 
at  last  was  imprisoned  at  Clichy,  for  debt.  While  there  he  made  nine- 
teen plates  illustrating  the  prison  life.  After  his  release  he  devoted 
himself  to  no  regular  work  until  1837,  when  Philippon  engaged  him 
to  design  for  the  "  Charivari."  He  worked  hard,  and  produced  an  im- 
mense number  of  designs.  From  1840  to  '47  may  be  considered  his 
best  period.  In  1847  he  went  to  England,  where  he  spent  some 
time,  and  did  much  work,  especially  in  water-colors.  During  the 
last  years  of  his  life  he  was  enamored  of  the  study  of  mathematics. 
He  had  a  little  house  at  Auteuil,  which  he  seldom  left,  but  where  he 
welcomed  his  intimate  friends.  He  painted  a  little,  and  sent  his 
works  directly  to  the  purchaser  or  to  a  dealer  to  be  sold.  Here  a 
dreadful  sorrow  came  to  him  in  the  death  of  his  son  Jean,  whom  he 
adored.  A  little  later  his  home  was  taken  from  him  on  account  of 
the  making  of  a  new  Boulevard  ;  he  remained  at  hand  to  witness  its 
destruction,  and  then  went  to  a  house  in  the  Avenue  de  l'lmperatrice, 
where  he  lived  two  years,  but  never  settled  himself.  At  last  he 
took  a  villa  not  far  from  Auteuil,  and  there  died  in  November,  1866. 
His  works  were  eagerly  sought,  for,  aside  from  their  record  of  the 
manners  of  his  time,  they  possessed  pure  art  qualities,  sufficient  to 
insure  their  consideration.  The  name  of  Gavarni  will  live  beside  that 
of  Balzac  ;  both  studied  life  seriously,  —  the  one  commenced  in  writ- 
ing what  the  other  completed  by  illustrating.  The  following  is  a  list 
of  his  almost  numberless  works  :  "  The  Impostures  of  Women  in 
some  Matters  of  Sentiment,"  "Dreams,"  "The  Muses,"  "Lessons 
and  Counsels,"  "  Paris  in  the  Morning,"  "  The  Shades  of  Sentiment," 
"  The  Martyrs,"  "  The  Students  of  Paris,"  "  The  Terrible  Children," 
"  Souvenirs  of  the  Ball  Chicard  and  of  the  Carnival  at  Paris,"  "  The 
Lorettes,"  "  Musicians  and  Singers  "  or  "  Musicians  Comic  or  Pictu- 
resque," "  Masks  and  Visages,"  etc. 


286    ARTISTS  OF  THE  NINETEENTH  CENTURY. 

Gavin,  Robert.    (Brit.)    Born  at  Leith  (1827- 1883).    He  was 

educated  at  the  Trustees  Academy  in  Edinburgh,  practicing  his  profes- 
sion in  that  city  for  some  years,  his  studio  being  at  Leith.  He  has 
devoted  himself  chiefly  to  Moorish  figures,  making  frequent  and  pro- 
longed visits  to  Morocco  and  the  East.  He  was  a  member  of  the 
Royal  Scottish  Academy.  Among  his  later  works  are,  "  The  Fondah," 
"Children  of  the  Sun,"  and  "Hunted  Down,"  at  the  Eoyal  Scottish 
Academy  in  1878. 

"  If  Robert  Gavin  would  always  depict  negro  youth  in  form  so  attractive  as  his 
head  of  '  A  Moorish  Girl '  [R.  S.  A.,  1874],  whose  snowy  drapery  admirably  contrasts  with 
the  raven  hair  and  flashing  eyes,  we  should  not  restrict  our  notion  of  beauty  to  the 
complexion  of  the  lily  and  rose.  His  '  Horse-Shoeing  at  Tangiers,'  too,  is  a  scene  strongly 
grasped  and  well  worthy  of  examination."  — Art  Journal,  April,  1874. 

Gay,  W.  Allan.  (Am.)  Born  in  Massachusetts,  1821.  Displayed 
a  decided  talent  for  art  as  a  youth,  and  studied  under  Weir  at  West 
Point,  N.  Y.,  and  under  Troy  on  at  Paris,  remaining  some  years  in  the 
French  capital  and  in  Italy.  Is  at  present  a  resident  of  Boston, 
where  in  the  spring  of  1877  he  exhibited  over  one  hundred  of  his 
pictures  (representing  his  entire  artistic  career),  illustrative  of 
American,  French,  Dutch,  Italian,  and  Egyptian  landscapes.  "  Neat 
Fontainebleau "  and  "  Mount  Washington "  are  among  his  earlier 
works.  His  "  Mackerel  Fleet,  Beverly  Coast,  Mass."  and  "  Har- 
bor Bar,  Cape  Ann,"  belonging  to  Charles  H.  Dorr,  were  at  the  Na- 
tional Academy  in  1869.  In  1875  he  sent  to  the  National  Academy 
several  works,  including  "  Sunset,  Cohasset,  Mass."  and  "  The  Doge's 
Palace,  Venice."  At  the  Mechanics'  Fair,  Boston,  1878,  was  exhibited 
his  "  Forest  Sanctuary,"  belonging  to  Thomas  G.  Appleton,  and 
"  Minieh,  on  the  Nile,"  belonging  to  S.  D.  Warren. 

"  Gay  is  a  contemplative  rather  than  an  enterprising  artist ;  he  loves  his  art  for  its 
own  sake,  and  follows  it  in  a  loyal,  modest  spirit.  He  ranks  deservedly  high  both  with 
artists  and  public.  His  landscapes  are  remarkable  for  their  simplicity  and  truth."  — 
Tuckeeman's  Book  of  the  Artists. 

"Mr.  Gay  exhibited  'Windmills  of  Delfthaven,  Holland,'  a  very  admirable  picture, 
true  in  sentiment  and  skillfully  executed." — Prof.  Weir's  Official  Report  of  the  American 
Centennial  Exhibition  of  1876. 

Gay,  Edward,  A.  N.  A.  (Am.)  Born  in  Ireland,  1837.  He 
commenced  the  study  of  art  in  Albany,  N.  Y.,  working  for  some 
time  in  the  studio  of  James  Hart,  by  whose  works,  as  well  as  those 
of  Boughton,  he  was  somewhat  influenced.  His  first  important 
work  was  the  "Mountain  Stream,"  painted  in  1860,  and  now  in 
the  possession  of  William  Thomas  of  Albany.  In  1862  he  went  to 
Germany,  studying  in  Carlsruhe  under  Schirmer,  and  afterwards 
under  Lessing.  In  1867  he  returned  to  America,  opening  a  studio  in 
New  York,  where  his  professional  life  has  since  been  spent.  He  was 
made  an  Associate  Member  of  the  National  Academy  in  1870.  and  is 
a  regular  contributor  to  its  exhibitions  as  well  as  to  those  of  the  Water- 
Color  Society.    He  exhibited  in  1869,  in  oil,  "  Swabian  Home  "  ;  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  287 


1870,  "Late  Afternoon"  (belonging  to  J.  H.  Johnston);  in  1875, 
«  Heady  for  the  Eeapers  "  ;  in  1876,  "  A  Quiet  Hour"  ;  in  1877,  "  The 
Slopes  of  the  Mohawk"  ;  in  1878,  "  Eastchester,  N.  Y."  and  "The 
Last  Load,  Harvest-Time."  In  water-color  he  exhibited,  in  1876, 
"  Foggy  Morning  by  the  Lake  " ;  and  "  A  Spring  Morning,"  in  1877. 
Gay's  "  Alt  Wasser  "  (belonging  to  D.  J.  Lathrop  of  Albany),  the 
"  Mohawk  Valley  Home  "  (owned  by  Senator  Wagner),  his  "  Twin 
Lakes,"  and  "  The  Suburbs  "  attracted  some  attention  when  exhibited. 
His  "  hate  Afternoon  near  Albany  "  was  at  the  Philadelphia  Centen- 
nial Exhibition  in  1876. 

Gay,  Walter.  (Am.)  Nephew  of  William  Allan  Gay.  He  began 
the  practice  of  his  profession  by  the  painting  of  flower-pieces  in  Bos- 
ton. In  1876  he  went  to  Paris,  entering  the  studio  of  Bonnat.  To 
.the  Exhibition  of  1876  in  Philadelphia  he  sent  "Fall  Flowers"  ;  to 
Paris,  in  1878,  "  A  landscape."  At  the  Mechanics'  Fair,  Boston,  1878, 
he  exhibited  "The  Unsuccessful  Musician"  and  "Fast  Asleep." 

Gebhardt,  Karl  Franz  Eduard  von.  (Ger.)  Born  at  Estland, 
1838.  Member  of  the  Academies  of  Munich  and  Berlin.  Professor 
in  that  of  Dusseldorf.  Small  gold  medal  at  Berlin,  and  one  at  Vienna 
in  1873.  Studied  at  the  Academy  in  St.  Petersburg,  then  at  the  Art 
School  of  Carlsruhe,  and  under  W.  Sohn  at  Dusseldorf.  He  has  trav- 
eled much  in  all  parts  of  Germany,  Holland,  France,  and  Italy.  His 
subjects  are  historical,  and  many  of  them  religious.  He  earnestly 
believes  all  he  portrays  in  his  sacred  subjects,  and  devotes  himself 
to  them  as  to  a  lofty  duty.  His  composition  is  not  of  the  highest 
merit,  but  he  seldom  fails  to  express  the  deepest  meaning  of  his 
theme.  His  "  Last  Supper "  is  in  the  National  Gallery  at  Berlin. 
Among  his  works  are,  "  The  Crucifixion  "  (in  the  Museum  of  Ham- 
burg), "  Christ's  Entrance  into  J erusalem,"  "  The  Eaising  of  the 
Daughter  of  Jairus,"  etc.  At  the  Paris  Exposition  of  1878  were  the 
"  Last  Supper,"  the  "  Crucifixion,"  and  a  portrait. 

"We  may  rejoice  to  meet  such  an  artist  as  Gebhardt  in  our  day  ;  he  has  an  utterly 
individual  nature,  and  a  strong  will,  with  acute  intelligence,  and  an  artistic  soul,  whose 
fervor  is  of  the  utmost  importance  in  art.  We  have  not  many  such  phenomena,  and, 
although  we  may  often  criticise  his  works,  of  which  we  hope  to  see  many,  still  his  ad- 
vance in  the  important  elements  of  art  within  a  short  time  must  not  be  forgotten."  — 
Bruno  Meyer,  Zeitschrift  f&r  bildende  Kunst,  1872. 

Gebler,  Friedrich  Otto.  (Ger.)  Born  at  Dresden,  1838.  Small 
gold  medal  at  Berlin,  1874.  Studied  at  the  Academies  of  Dres- 
den and  Munich.  He  is  a  disciple  of  Piloty,  and  very  dexterous 
in  technicalities.  He  paints  animals,  and  is  especially  successful  in 
representing  sheep,  rendering  the  unconscious  humor  of  their  manners 
in  a  masterly  fashion.  In  the  National  Gallery  at  Berlin  is  his 
"  Kunstkritiker  im  Stalle."  His  picture  of  "  Calves  and  Goats " 
looking  at  each  other,  with  ducks  as  accessories,  was  much  praised. 
At  Berlin  in  1876  he  exhibited  "  The  Visit  to  the  Stable."    To  the 


288     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Paris  Exposition  of  1878  he  sent  "  Sheep  and  a  Spaniel,"  belonging  to 
the  National  Gallery  at  Berlin. 

Geddens,  George.  (Am.)  Born  in  Bedford,  England,  1845.  By 
profession  an  actor,  but  studying  and  practicing  painting  in  his  lei- 
sure hours.  He  was  a  pupil  of  Meyer  Straus  in  San  Francisco,  Cal., 
and  of  J.  0.  Wood  and  the  National  Academy  schools  in  New  York. 
At  present  he  has  a  studio  in  the  latter  city,  exhibiting  at  the  Na- 
tional Academy,  in  1878,  "  Twilight,"  and  at  the  Brooklyn  Art  Asso- 
ciation, "  Noontide  "  and  "  Eventide." 

Geefs,  Joseph.  (Belgian.)  Born  at  Antwerp,  1808.  Member  of 
the  Academy  of  Antwerp,  and  Chevalier  of  the  Order  of  Leopold. 
Medal  at  Paris,  1841.  Studied  sculpture  in  his  native  city  and  at 
Eome.  He  has  executed  "  Adonis  going  to  the  Chase,"  "  The  Arts, 
Sciences,  and  Letters  rendering  Homage  to  Charles  Von  Hulthem," 
a  statue  of  "Baldwin  of  Constantinople"  (at  the  Palais  des  Chambres), 
an  equestrian  statue  of  "  Leopold  I.,"  etc. 

Geefs,  Mme.  Fanny.  (Belgian.)  Born  at  Brussels.  Two  medals 
at  Paris.  Wife  of  the  sculptor,  Guillaume  Geefs.  Her  historical 
pictures  do  not  equal  her  portraits  and  genre  subjects.  Her  "  As- 
sumption of  the  Virgin "  is  in  a  church  at  Waterloo,  and  "  Christ 
appearing  to  his  Disciples  "  is  in  a  church  at  Hanthem.  "  The  Virgin 
consoling  the  Afflicted  "  took  a  medal  at  Paris,  and  is  in  the  Hospital 
of  St.  John  at  Brussels.  "  The  Virgin  and  Child  "  was  purchased  by 
the  Belgian  government.  Among  her  genre  pictures  are,  "  Ophelia," 
"  The  Young  Mother,"  "  The  Sailor's  Daughter,"  etc.  Her  portraits 
are  better  than  the  ordinary,  and  will  bear  the  test  of  fair  criticism. 

Gegerfelt,  Wilhelm  de.  (Swede.)  Born  at  Gothenburg.  At  the 
Paris  Salon  of  1877  he  exhibited  "Landscape  in  Holland"  ;  in  1876, 
two  landscapes ;  etc.  Some  of  his  works  have  been  seen  in  the  gal- 
lery of  Cottier  &  Co.,  New  York.  At  the  Salon  of  1878  he  exhibited 
"  A  View  on  the  Coast  of  Normandy,"  and  at  the  Paris  Exposition, 
same  year,  two  landscapes.  Gegerfelt  is  a  Fellow  of  the  Eoyal  Acad- 
emy of  Sweden. 

Geist,  August  Christian.  (Ger.)  Born  at  Wurzburg  (1835- 
1868).  Studied  in  his  native  city,  and,  later,  at  Munich.  He  painted 
landscapes.  One  of  his  earlier  works,  "  A  Winter  Scene  in  the  Isar 
Valley,"  was  bought  by  the  Kunstverein  of  Wiirzburg,  and  other  early 
pictures  were  purchased  for  Regensburg  and  Munich.  He  executed  for 
the  Polytechnic  Society  in  Wurzburg  twenty-four  views  in  India  ink. 
His  reputation  was  early  established,  and  his  pictures  sold  rapidly. 
He  several  times  visited  France,  making  pictures  of  the  ruined  castles 
of  that  country  ;  of  these  he  made  etchings,  and  was  very  skillful  in 
this  manner  of  engraving.  Among  his  pictures  are  views  from  vari- 
ous parts  of  Germany,  and  some  of  Italian  scenes,  which  were  done 
after  his  health  had  failed  and  he  had  sought  relief  in  a  Southern 
clime. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  289 


Gemito,  Vincenzo.  (Ital.)  Born  at  Naples.  Pupil  of  Lista. 
At  the  Paris  Salon  of  1877  he  exhibited  "  A  Neapolitan  Fisher " 
(bronze  statue),  and  a  portrait  of  M.  Verdi  (bronze  bust).  This 
statue  was  much  praised  by  Ch.  Timbal  in  the  "  Gazette  des  Beaux- 
Arts,"  and  a  writer  in  the  American  Register,  Paris,  says  :  — 

"An  Italian  sculptor,  M.  Gemito,  exhibits  a  'Neapolitan  Fisher  Boy'  in  bronze, 
which  has  rendered  its  creator  at  once  celebrated.  It  is  a  life-sized  figure,  representing 
the  boy  in  the  act  of  sitting  on  his  heels  in  order  to  take  a  fish  from  his  hook.  A 
wonderfully  powerful  and  realistic  work  is  this,  fully  deserving  the  success  it  has  met 
with." 

At  the  Salon  of  1878  he  exhibited  portrait  busts  of  M.  Faure  and 
M.  Boldini  (bronze).  , 

Gendron,  Auguste.  (Fr.)  Born  at  Paris,  1818.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Delaroche.  Historical  painter. 
His  "  Sunday  at  Florence  in  the  Fifteenth  Century  "  (1855)  is  at  the 
Luxembourg.  In  1877  he  exhibited  at  the  Salon,  "  M.  Purgon  arrive 
mal  a  propos"  ;  in  1876,  "  The  Tribute  of  Athens  to  the  Minotaur" ; 
in  1875,  "  Landscape  in  Tuscany"  and  "Actions  de  grace  a  Esculape"  ; 
in  1873,  "The  Foolish  Virgins"  and  "Man  between  Two  Ages,  and 
his  Two  Mistresses"  (La  Fontaine's  Fables),  etc.    [Died,  1881.] 

Genelli,  Johann  Bonaventura.  (Ger.)  Born  at  Berlin  (1803- 
1868).  Studied  under  his  father  at  the  Academy  of  Berlin,  and  un- 
der Cornelius  and  Overbeck  at  Rome.  In  the  Roman  house  at 
Leipsic  he  executed  a  series  of  pictures  illustrative  of  the  life  of 
Bacchus.  In  1835  he  settled  in  Munich,  from  which  place  he  sent 
out  large  numbers  of  designs,  which  became  known  all  over  Europe, 
and  were  remarkable  for  the  effects  of  light  and  shade  produced  with 
the  pencil  alone.  In  the  National  Gallery  at  Berlin  is  his  cartoon  of 
the  "  Rape  of  Europa."  He  designed  and  engraved  twenty-five  illus- 
trations for  the  Homer  of  Voss,  thirty-six  for  the  "Divine  Comedy,"  etc. 
At  the  Leipsic  Museum  are  several  cartoons  of  his  decorative  sub- 
jects. Among  his  works  are  "The  Angel's  Promise  to  Abraham," 
"  Hercules  and  Omphale,"  "  Homer  among  Listening  Ionians,"  ""  Sap- 
pho singing  to  the  Grecian  "Women,"  etc. 

Gentz,  Wilhelm  Karl.  (Ger.)  Born  at  Neu-Ruppin,  1822. 
Member  of  the  Berlin  Academy.  Small  and  large  gold  medals  at 
Berlin.  Medal  at  Vienna,  1873,  and  at  Munich,  1876.  Studied  at 
Berlin  and  Antwerp  Academies,  and  later  at  Paris  under  Gleyre  and 
Couture.  He  traveled  in  Spain,  Morocco,  Egypt,  Nubia,  Asia  Minor, 
Palestine,  and  Turkey.  His  pictures  represent  the  life  and  the  scenery 
of  the  East,  and  his  coloring  is  well  suited  to  the  vivid  scenes  he  por- 
trays. His  "  Entrance  of  the  Crown  Prince  of  Prussia  into  Jeru- 
salem in  1869"  is  in  the  National  Gallery  at  Berlin.  Among  his 
works  are,  "Evening  on  the  Nile,"  "Arab  Story-Tellers  at  Cairo,"  and 
"  Prayer  in  the  Desert." 

Gerard,  Theodore.  (Belgian.)  Of  Brussels.  Medal  at  Philadel- 
13  & 


290     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


phia,  where  he  exhibited  "The  Birthday"  and  an  "Unwelcome 
Guest." 

Gerimsky,  Alexander.  (Russian.)  Of  Warsaw.  He  received  a 
medal  at  Philadelphia,  where  he  exhibited  pictures  of  a  "  Tavern " 
and  "A  Game  of  Morra." 

Gerome,  Jean  Leon.  (Fr.)  Born  at  Vesoul,  1824.  Member  of  the 
Institute,  Commander  of  the  Legion  of  Honor,  and  Chevalier  of  the 
Order  of  VAigle  Rouge.  He  received  one  of  the  eight  grand  medals  of 
honor  (E.  U.)  1867  ;  and  a  medal  of  honor  at  the  Salon,  1874.  This 
painter  came  to  Paris  in  1841,  entered  the  atelier  of  Delaroche,  and  at 
the  same  time  followed  the  course  at  l'Ecole  des  Beaux- Arts.  In  1844 
he  accompanied  Delaroche  to  Italy.  Gerome  made  his  debut  at  the 
Salon  of  1847  with  "  A  Combat  of  Cocks,"  for  which  he  received  a 
medal  of  the  third  class  ;  the  picture  is  now  in  the  Luxembourg.  In 
1853  and  '56  he  traveled  in  Egypt  and  Turkey.  In  1863  he  was  made 
professor  at  l'Ecole  des  Beaux- Arts.  His  works  are  so  numerous  that 
but  a  small  portion  can  be  mentioned  here.  Among  them  are,  "  The 
Age  of  Augustus,"  a  grand  historic  work,  purchased  by  the  State 
(1855);  "Leaving  the  Masked  Ball"  (1857)  ;  "The  Wife  of  Can- 
daules "  (1859)  ;  "  The  Gladiators  bidding  Farewell  to  Csesar " 
(1859)  ;  "Death  of  Caesar"  (E.  U.,  1867)  (33  by  55),  purchased  by 
Mr.  John  Taylor  Johnston  of  New  York,  and  sold  in  1876  for  $8,000. 
At  the  Salon  of  1868  Gerome  exhibited  "  The  7th  of  December,  1815, 
—  Nine  o'clock  in  the  Morning";  in  1869,  "Jerusalem";  in  1874, 
"  Promenade  of  the  Harem  " ;  in  1876,  "  Une  collaboration,"  pur- 
chased by  Mr.  Stewart  of  New  York  ;  "  L'^ minence  grise,"  purchased 
by  Mr.  Stebbins  ;  "A  Santon  at  the  Door  of  a  Mosque,"  "Women 
Bathing,"  etc.  At  the  Johnston  sale,  "A  Bashi-Bazook"  (11  by  8) 
sold  for  $1,200,  and  "The  Call  to  Prayer,"  Cairo  (32  by  26),  for 
$  4,000.  At  the  Corcoran  Gallery  is  his  "  Caesar  Dead  "  (7  feet  2 
inches  by  10  feet  5  inches).  At  the  Khalil  Bey  sale,  1868,  "  The 
Clothes-Merchant "  was  bought  by  M.  Say  for  $  864.  At  the  Oppen- 
heim  sale,  Paris,  1877,  "  Bex  Tibicen  "  sold  for  30,500  francs.  At  the 
Latham  sale,  New  York,  1878,  "An  Arab  on  Horseback,  and  two 
Dogs  drinking  at  a  Fountain  "  (29  by  24)  sold  for  $  5,500.  One  of 
the  most  noteworthy  pictures  by  this  artist,  "  Diogenes,"  is  in  the 
Walters  Gallery,  Baltimore.  Gerome  has  also  given  some  attention 
to  sculpture,  and  exhibited  at  the  Exposition  of  1878  two  groups, 
"  The  Gladiators  "  and  "  Anacreon,  Bacchus,  and  Love."  His  pictures 
of  the  "Bull-Fighter"  and  "The  Guard  of  Louis  XIV."  belong  to 
Mr.  T.  B,.  Butler  of  New  York. 

Gerome  executed  some  of  the  decorative  work  for  the  Exposition  of 
1867,  and  has  painted  for  the  city  of  Paris,  in  one  of  the  chapels  of  the 
church  of  Saint  Severin,  "  The  Plague  at  Marseilles,"  and  other  decora- 
tive paintings  in  the  ancient  refectory  of  Saint-Martin-des-Champs. 
He  also  painted  "  A  Lioness  encountering  a  Jaguar,"  for  the  critic 
M.  Theophile  Gautier. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  291 


"  He  is  a  fine  draughtsman,  he  models  well,  and  is  a  master  of  gradation  in  tone. 
Mentally,  his  constitution  is  very  peculiar.  One  cannot  accuse  him  of  being  immoral, 
because  the  severity  of  his  style  discourages  the  looseness  of  mind  most  favorable  to 
immoral  impressions  ;  Gerome  governs  himself  so  strongly  as  a  painter,  that  if  he  is  im- 
moral, it  is  not  from  irresistible  impulses,  but  consciously  and  coldly.  So  with  his  love 
of  the  horrible,  —  there  is  no  violence,  no  expression  of  repulsion  ;  the  severed  heads 
lie  at  the  door  at  Cairo,  and  the  sentinel  smokes  his  pipe  ;  *  a  common  painter  would 
have  given  us  bystanders  with  horror  on  their  faces.  But  in  this  very  coldness  there  is 
something  peculiarly  fascinating  and  terrible.  One  of  the  most  revolting  things  in  art 
is  the  cool  merchant  in  the  '  Slave  Market,'  examining  the  girl's  teeth,  as  we  examine  the 
teeth  of  horses.  So  the  death  of  the  duelist,  coming  out  of  the  masked  ball,  is  all  the 
more  terrible  for  being  so  coldly  painted  Gerome  has  painted  one  or  two  illus- 
trations of  coursing  in  the  East,  which  are  remarkable  for  the  incomparable  drawing  of 
the  dogs.  I  would  rather  have  a  leash  of  greyhounds  painted  by  Gerome  than  by  any 
other  painter  living.  I  have  seen  beautiful  studies  by  him  of  various  other  animals  ;  he 
has  a  taue  understanding  of  animal  life  in  its  free  grace,  and  delightful  innocence,  and 
awkwardness  of  posture.  His  knowledge  of  landscape  is  slight,  but  his  backgrounds  are 
always  sufficient  for  his  purpose.  The  view  of  the  Nile  behind  the  '  Prisoner,'  and  the 
bit  of  Egyptian  landscape  in  the  'Hache  paille  Egyptien,'  are  as  good  as  any  of  his 
attempts  in  landscape."  —  Hamerton,  Contemporary  French,  Painters. 

"Horace  Vernet  said  of  Gerome  that  he  saw  his  picture  finished  before  he  touched  his 
canvas.  This  prevision  is  a  rare  and  precious  gift ;  it  sometimes  inspires  the  artist  with 
too  much  confidence  ;  it  often  excludes  the  benefits  of  reflection  and  of  feeling  the  way  ; 
but  it  assures  the  work,  and  lends  to  the  hand  a  security  which  fears  not  the  treasons  of 
retouching.  The  regard  of  the  ignorant  spectator  is  captivated  by  this  neatness  of  exe- 
cution, and  more  than  one  artist,  in  appearance  disdainful,  envies  it  in  reality  

Although  Gerome  has  attained  the  moment  of  life  in  which  the  artist  seems  to  have 
nothing  to  demand  of  the  gods,  but  that  they  will  preserve  the  gifts  they  have  made 
him  intact,  he  has  not  passed  the  age  of  progress.  Attentive,  the  ear  on  the  watch, 
disturbed,  perhaps,  at  times,  he  hears  perfectly  the  thousand  murmurs  of  that  noise 
which  is  called  fame ;  he  distinguishes  them,  he  notes  them,  he  profits  by  them.  Those 
who  have  regarded  with  a  clairvoyant  eye  his  latest  works  have  been  able  to  see  with- 
out difficulty  the  enlargement  which  for  some  time  has  shown  itself  in  his  manner,  in 
the  firmness  of  his  touch  at  the  first  stroke,  in  the  new  richness  of  his  pate.  The  artist 
has  put  himself  in  accord  with  the  time,  but  in  accordance  with  his  personal  taste.  The 
inventor  had  not  to  show  himself  more  ingenious,  the  painter  has  become  more  of  a 
painter."  —  Ch.  Timbal,  Gazette  des  Beaux-Arts,  October,  1876. 

"  M.  Gerome  proved  some  years  ago  that  he  was  a  designer  of  great  talent.  Since  the 
'  Combat  de  coqs  '  and  'L'Amour  et  Bacchus  entrant  au  cabaret,'  he  occupies  himself  less 
to  design  than  to  succeed.  I  tell  you  this  in  confidence  ;  the  public  knows  nothing  of  it ; 
then  speak  not  of  it.  M.  Gerome  reminds  me  a  little  of  those  braves  who  have  com- 
menced life  with  two  or  three  affairs  of  honor,  and  who,  living  on  their  reputation,  fight 
no  more  M.  Gerome  will  be  in  vogue  as  long  as  he  lives.  He  knows  how  to  re- 
fresh his  material,  to  increase  his  resources;  he  fears  not  to  go  in  quest  of  original 
ideas,  of  curious  types,  of  novel  landscapes  on  the  banks  of  the  Danube  or  the  Nile. 
His  views  in  Egypt  are  interesting,  apart  from  the  merit  of  execution,  which  is  little. 
One  finds  in  them  neither  a  very  profound  study  of  form,  nor  a  very  active  feeling  of 
strength,  nor  a  very  passionate  love  of  color.  The  stones  seem  a  little  softened  by  the 
sun  ;  the  camels,  whatever  they  might  be  in  the  first  place,  are  poorly  rendered,  and  the 
fatal  badigeon  saddens  all.  A  bold  man  he  who,  on  seeing  such  pictures,  would  take 
the  packet-boat  for  Alexandria  and  risk  the  voyage  !  But  without  going  so  far,  one 
stops  to  regard  them,  and  to  wonder  at  the  way  in  which  a  man  of  mind  can  renew  his 
success  without  renewing  his  talent. "  —  Edmond  About,  Nos  Artistes  an  Salon  de  1857. 


*  "Door  of  the  Mosque  El  Assaneyn,  with  the  heads  of  the  Beys,  massacred  by  Salek- 
Kachef." 


292     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Gerry,  Samuel  L.  (Am.)  Born  in  Boston,  1813.  In  early  life 
he  was  influenced  somewhat  by  the  works  of  "Cole  and  Durand  in  New 
York,  and  by  Lambinet  and  Constant  Troyon  of  Paris,  but  he  had  no 
regular  teachers  or  masters,  and  went  to  Nature  as  his  chief  helper. 
With  the  exception  of  some  three  years  spent  in  study  and  observation 
in  England,  France,  Switzerland,  and  Italy,  his  professional  life  has 
been  passed  in  New  England,  and  chiefly  in  Boston.  He  was  one  of 
the  original  members  of  the  Boston  Art  Club,  organized  in  1854,  and 
one  of  its  earlier  presidents.  His  most  important  works  are  land- 
scapes, although  he  has  painted  many  portraits,  as  well  as  figure  and 
animal  pieces.  His  "  Pasture  Gate  "  is  in  the  possession  of  the  Cen- 
tral Club  of  Boston  ;  it  was  exhibited  at  the  National  Academy  of 
New  York,  as  was  his  "  Land  of  Beulah,"  purchased  by  Isaac  Rich  of 
Boston,  and  bequeathed  by  him  to  Wesleyan  College,  where  it  now  is. 
His  "  Over  the  River  "  belonged  to  Mr.  Clark,  formerly  of  the  Bre- 
voort  House,  New  York,  but  is  now  the  property  of  his  daughter. 
The  "Bridal  Tour  of  Priscilla  and  John  Alden  "  belongs  to  Hon. 
Moody  Merrill  of  Boston.  His  last  work,  "  The  Artist's  Dream,"  is 
still  (1878)  on  the  artist's  easel.  To  the  Centennial  Exhibition  of 
1876  he  sent  his  "  American  Tourists." 

Gervex,  Henri.  (Fr.)  Born  at  Paris.  Medals  in  1874  and  '76- 
Pupil  of  Fromentin,  Cabanel,  and  Brisset.  At  the  Salon  of  1877  he 
exhibited  "  Communion  at  the  Church  of  the  Trinity  "  and  a  portrait 
of  "  My  Friend  Brispot "  ;  in  1876,  "  An  Autopsy  at  the  Hotel-Dieu  " 
and  "  In  the  Woods "  ;  and  in  1874,  "  Satyr  playing  with  a  Bac- 
chante," now  in  the  Luxembourg.  At  the  Salon  of  1878  Gervex  ex- 
hibited two  portraits. 

Geyer,  Karl  Ludwig  Otto.  (Ger.)  Born  at  Charlottenburg,  1843. 
Sculptor.  Pupil  of  the  Berlin  Academy,  also  of  Schievelbein.  At 
Gotha  he  was  employed  at  the  Museum,  and  went  to  Copenhagen  to 
study  the  Thorwaldsen  Museum  there.  At  the  National  Gallery,  Ber- 
lin, there  are  some  portraits  of  German  masters  by  Geyer,  done  in  relief. 

Giacomotti,  Felix  Henri.  (Fr.)  Born  at  Quingey  (Doubs),  1828. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Picot  and  l'Ecole  des 
Beaux- Arts.  He  took  the  grand  prix  de  Rome  in  1854.  His  reputa- 
tion has  been  rapidly  made,  and  is  very  honorable  in  historical  sub- 
jects and  portraits.  His  "  Abduction  of  Amymone  "  (1865)  is  at  the 
Luxembourg.  At  the  Salon  of  1877  he  exhibited  a  portrait  and  "  The 
Night";  in  1876,  a  portrait  and  "At  Sonnino "  ;  in  1875,  "Cal- 
vary," etc.  His  portraits  of  notable  persons  are  numerous,  and  some 
of  them  are  in  public  places.  His  "  Christ  among  the  Doctors  "  is 
at  the  church  of  Saint-Etienne-du-Mont,  where  there  are  other  works 
by  him.  At  the  Salon  of  1878  Giacomotti  exhibited  "  The  Glory  of 
Rubens  and  of  Painting "  (a  decorative  ceiling  for  a  Salon  at  the 
Museum  of  the  Luxembourg)  and  a  portrait  of  the  Marquise  S.  C. 

Gibson,  John,  R.  A.   (Brit.)   Born  in  Wales  (1790  -  1866).  Mem- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  293 


ber  of  the  Royal  Academy,  London,  and  of  the  Academies  of  Rome, 
Turin,  St.  Petersburg,  and  Munich.  He  was  apprenticed  to  a  wood- 
carver  in  Liverpool.  After  spending  some  time  in  London  he  went  to 
Italy  in  1820,  and  was  a  pupil  of  Canova  and  of  Thorwaldsen,  and 
returning  to  England  was  made  an  Associate  of  the  Royal  Academy 
in  1833  and  full  Member  in  1836.  "  The  Seasons,"  executed  in  1810, 
and  now  in  the  possession  of  Mr.  Gladstone,  is  one  of  his  earliest 
works.  Among  others  are,  "  Mars  and  Venus,"  "  Hero  and  Leander," 
"Psyche,"  "Guardian  Angel,"  "Hebe,"  "Sappho,"  "Proserpine," 
"  Aurora,"  and  statues  of  the  Queen  in  Buckingham  Palace,  Robert 
Peel  at  Westminster,  etc. 

"If  the  'Venus  and  Cupid'  (putting  aside  the  coloring)  or  'The  Young  Hunter'  (of 
1851)  be  taken  as  the  standard,  the  sculptor  [John  Gibson]  will  rank  with  those  who  have 
shown  a  fair  knowledge  of  form  and  a  considerable  sense  of  grace,  although  that  grace 
which  belongs  to  external  elegance  rather  than  that  higher  and  deeper  kind  which 
springs  from  the  workings  of  a  beautiful  soul.  These  gifts  he  has,  however,  consecrated 
so  liberally  to  the  intellectual  reproduction  of  the  Greco-Roman  mythology,  that  his  art 
has  little  hold  on  actual  life,  and  commands  no  sympathy  from  the  cotemporary  mind. 
One  must,  in  this  case,  regret  a  real  gift  and  a  remarkable  industry  misapplied."  —  Pal- 
grave's  Essays  on  Art. 

Gide,  Th^ophile.  (Fr.)  Born  at  Paris,  1822.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Delaroche  and  Cogniet.  His  pictures  are 
very  numerous,  and  embrace  a  variety  of  subjects.  At  the  Salon  of 
1877  he  exhibited  "The  Interior  of  St.  Mark's,  Venice,"  and  "Louis 
XL  surprised  by  his  Fool  when  at  Prayer";  in  1876,  "  Charles  IX.  con- 
strained to  sign  the  Order  for  the  Massacre  of  the  Huguenots,"  and  "A 
Quarrel  at  Play  " ;  in  1875,  "  An  Indiscreet  Confidence  "  and  "  Still  a 
Glass  ! "  etc.  At  the  Johnston  sale,  New  York,  1876,  "  Monks  playing 
Chess  "  (12  by  16)  sold  for  $  410.  At  the  Salon  of  1878  he  exhibited 
"  The  Young  Invalid." 

Gierymski,  Max.  (Pole.)  Born  at  Warsaw  (1846- 1874).  Mem- 
ber of  the  Berlin  Academy.  He  was  engaged  in  military  matters  and 
in  a  Polish  insurrection,  and  did  not  commence  his  art  studies  until 
1865,  when  he  went  to  the  Academy  of  Munich.  Under  A.  Wagner 
and  Franz  Adam  his  talents  were  rapidly  developed.  His  gifts  were 
remarkable.  He  first  painted  genre  subjects  ;  later,  landscapes.  He 
had  contracted  a  trouble  of  the  chest  in  his  soldier-life,  and  soon  after 
establishing  himself  in  his  own  studio,  in  1870,  he  found  his  malady 
rapidly  increasing.  He  went  to  Italy,  and  only  returned  to  die.  "  He 
was,"  says  Dr.  Max  Jordan,  "  perhaps  the  most  promising  of  all  the 
young  realists  of  the  Munich  school.  Without  allowing  himself  to  be 
lost  in  fantasjr,  he  observed  and  depicted  the  peculiarities  of  the  age 
and  the  familiar  aspects  of  nature  with  remarkable  delicacy  of  senti- 
ment, and  in  spite  of  his  youth  he  excelled  in  technique."  His  last 
work,  "  Parforce-Jagd  im  vorigen  Jahrhundert "  ("  Stag-Hunt  in 
the  Last  Century"),  is  in  the  National  Gallery  at  Berlin.  At  Berlin 
in  1871  he  exhibited  "  The  Breaking  down  of  the  Post- Wagon  "  ;  at 


294     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Vienna,  same  year,  "  The  Departure  for  the  Hunt."  His  "  Chasse  a 
courre  au  XVIII6  siecle  "  was  exhibited  at  Paris  in  1878  ;  it  belongs 
to  the  National  Gallery  of  Berlin. 

Gifford,  Sandford  R.,  N.  A.  (Am.)  Born  in  Saratoga  County,  N.  Y. 
When  a  child  he  removed  with  his  family  to  Hudson.  He  studied 
in  New  York  City,  painting  in  the  studio  of  John  K.  Smith.  In 
1850  he  went  abroad,  visiting  London  and  Paris  and  other  continental 
cities.  On  his  return  he  settled  in  New  York,  and  was  made  an  Asso- 
ciate of  the  National  Academy  of  Design  shortly  after,  and  an  Acade- 
mician in  1854.  In  1860  he  made  another  European  visit,  sketching 
along  the  Rhine,  in  Italy,  Switzerland,  Egypt,  and  the  Nile.  In 
1870  he  made  a  trip  to  the  Rocky  Mountains.  In  1867  he  exhibited 
at  the  National  Academy  his  "  Morning  in  the  Adirondacks  "  (belong- 
ing to  Samuel  Lord);  in  1869,  "Mount  Mansfield";  in  1870,  "San 
Giorgio,  Venice"  (belonging  to  Richard  Butler)  and  " Tivoli " (belong- 
ing to  Robert  Gordon);  in  1871,  "  The  Column  of  St.  Mark  "  (belonging 
to  J.  H.  Sherwood)  and  "  Pishing-Boats  of  the  Adriatic "  ;  in  1874, 
"  Pallanza,  Lago  Maggiore  "  (belonging  to  Charles  H.  Smith),  "  Sun- 
set on  the  Sweetwater,  Wyoming"  (belonging  to  Col.  John  Hay),  and 
"Venetian  Sails"  (the  property  of  John  Jacob  Astor)  ;  in  1876,  "At 
Beni-Hassan"  and  "  Near  Palermo  ";  in  1877,  "  Leander's  Tower  on  the 
Bosphorus,"  "Sunset  on  the  Hudson,"  and  "Fire  Island  Beach" ;  in 
1878,  "  Sunset,  Bay  of  New  York."  He  was  "  commended  for  emi- 
nence in  landscape-painting"  at  Philadelphia  in  1876.  To  Paris,  in 
1878,  he  sent  "  Mount  Renier"  and  "San  Giorgio,  Venice."  His 
"  Twilight  on  Mount  Hunter "  and  "  Home  in  the  Wilderness  "  were 
at  the  Paris  Exposition  of  1867;  his  "Coming  Storm"  belongs  to 
Edwin  Booth,  a  duplicate  bringing  $  525  at  the  Johnston  sale  in  1876  ; 
his  "  Fishing-Boats  coming  into  the  Harbor  of  Brindisi "  was  sold  at 
the  same  time  for  $  1,575.  His  "  Camp  of  the  7th  Regiment"  belongs 
to  R.  M.  Olyphant,"  his  "  Lake  Geneva  "  to  William  Goddard,  and 
the  "  Golden  Horn  "  to  W.  J.  Peake.  [1823-1880.] 

"  Gifford  has  an  opulent  sense  of  color,  but  its  tone  is  artificial  and  strained  ;  often 
of  a  lively  or  deep  brimstone  tint,  as  if  he  saw  the  landscape  through  stained  glasses. 
His  touch  is  vigorous,  his  design  more  forcible  than  accurate,  and  his  style  as  a  whole 
conventional  and  untrue,  but  manifesting  qualities  attractive  to  those  who,  having  out- 
grown the  merely  mechanical  and  literal,  have  not  yet  familiarized  their  minds  with  the 
highest  aims  and  efforts  of  art."  —  Jabves,  Art  Idea. 

"  There  is  a  peculiar  magnetism  in  Gifford's  style  of  manipulation  that  attracts  the 
eye,  let  the  scene  be  ever  so  commonplace  '  Venice,'  like  all  of  Mr.  Gifford's  pic- 
tures, is  remarkable  for  the  exquisite  tenderness  of  its  tone  and  the  brilliancy  of  pictu- 
resque effect  in  the  few  objects  introduced."  —  Art  Journal,  July,  1876. 

"Mr.  S.  R.  Gifford  was  represented  by  his  'Sunrise  on  the  Sea-Shore,'  of  which  it 
may  be  said  that  the  sea  and  its  solitude  has  seldom  inspired  a  more  profound  motive, 
or  one  more  adequately  rendered,  than  in  this  picture.  '  Tivoli '  and  '  Lake  Geneva '  are 
no  less  admirable,  but  with  a  very  distinct  sentiment,  and  '  Pallanza,  Lago  Maggiore' 
has  a  full-flooded  sense  of  light,  modified  by  tone  that  is  in  every  respect -masterly  in 
treatment.    Two  pictures  by  the  same  artist,  '  Fishing-Boats  of  the  Adriatic  '  and  '  San 


ARTISTS  OF  THE  NINETEENTH  CENTURY  295 


Giorgio,  Venice,'  are  as  strong  and  pronounced  in  color  as  the  former  works  are  delicate 
and  suggestive.  This  artist  is  varied  in  his  powers,  and  sustained,  free,  and  finished  in 
his  methods.  His  pictures  always  manifest  great  elevation  of  thought  and  feeling. 
They  are  the  interpretation  of  the  profounder  sentiments  of  Nature  rather  than  of  her 
superficial  aspects."  —  Prof.  Weir's  Official  Report' of  the  American  Centennial  Exhibit  ion 
0/1876. 

Gilford,  R.  Swain,  N.  A.  (Am.}  Born  in  1840,  and  taken  by 
his  parents  at  an  early  age  to  New  Bedford,  where  he  was  educated, 
displaying  a  taste  for  drawing  as  a  youth.  He  studied  under  and 
assisted  Albert  van  Beest,  the  Dutch  marine  painter,  and  opened  a 
studio  in  Boston  in  1864,  living  there  until  he  settled  permanently 
in  New  York  in  1866.  He  was  elected  an  Associate  of  the  National 
Academy  in  1867,  and  Academician  in  1878.  Went  to  Oregon  and 
California  in  1869,  and  to  Europe  in  1870,  during  his  stay  abroad 
of  two  years  visiting  England,  France,  Spain,  Italy,  Morocco,  and 
Egypt.  He  went  to  Algiers  and  the  Great  Desert  in  1874,  and  on  his 
return,  in  1875,  made  a  sketching  tour  in  Brittany  and  other  parts 
of  France.  Gifford  began  the  painting  of  water-color  pictures  in 
1865,  and  has  been  a  prominent  member  of  the  American  Society  of 
Painters  in  Water-Colors  since  its  organization  in  1866.  At  the  Cen- 
tennial Exhibition  of  1876  he  was  awarded  a  medal  of  honor  for 
painting  in  oil.  Am'ong  his  pictures  in  oil  are,  "  Scene  at  Manches- 
ter, Cape  Ann"  (N.  A.,  1867),  "Mount  Hood,  Oregon,"  in  1870; 
"Castle  of  St.  Elmo,  near  Naples,"  in  1871  ;  "  Entrance  to  a  Moorish 
House,  Tangier"  and  "View  of  the  Golden  Horn,"  in  1873  ;  "Halt- 
ing for  Water  "  and  "  Passenger-Boats  on  the  Nile,"  in  1874  ;  "A  Booth 
in  Algeria,"  "  October  on  the  Massachusetts  Coast,"  and  "  The  Rossetti 
Garden,  Cairo,  Egypt,"  in  1875  ;  "Freight-Boat  on  the  Nile"  and 
"  Egyptian  Caravan,"  in  1876  ;  "A  September  Day,"  "  Cedars  of  New 
England,"  and  "The  Border  of  the  Desert"  (belonging  to  Sarony), 
in  1877  ;  "  Dartmouth  Moors,"  in  1878.  His  "  Deserted  Whaler," 
in  the  Water-Color  Exhibition  of  1867  -  68,  attracted  great  atten- 
tion. The  next  year  he  exhibited  "  An  Autumn  Day  on  the  Sea- 
Shore  "  ;  in  1871,  "  The  Return  from  Philse,  Egypt "  ;  in  1874,  "  Low 
Tide'' "The  Old  Fort"  and  "Block-House  at  Eastport";  in  1876, 
"Guerande"  and  "Venetian  Companions";  in  1877,  "Evening 
in  the  Sahara,"  "Scene  on  the  Campagna,  near  Naples,"  and 
"  The  Oasis  of  Filiach,  Algeria  "  ;  in  1878,  "  On  the  Lagoon,  Ven- 
ice," and  an  etching  from  the  same  picture.  His  "New-England 
Cedars,"  in  oil,  and  "  On  the  Lagoon,  Venice,"  "  Salt- Vats  at  Dart- 
mouth, Mass.,"  and  "  Evening  in  Sahara,"  in  water-colors,  were  at  the 
Paris  Exposition  of  1878.  His  "  Roc's  Egg  "  (water-color)  belongs 
to  Walter  Brown  ;  "  On  the  St.  Lawrence "  (oil),  to  Marshall  O. 
Roberts  ;  "  Boats  on  the  Nile  "  (oil),  to  L.  Tiffany  ;  "  Egyptian  Twi- 
light" (water- color),  to  Philip  J.  Sands  ;  "The  Palms  of  Biskra," 
(engraved),  to  Samuel  V.  Wright ;  "  Halt  in  the  Desert,"  to  Robert 
Gordon;  "  Fountain  near  Cairo,"  to  Henry  E.  Lawrence;  "  Guerande," 
to  Mrs.  A.  B.  Stone. 


296     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  R.  Swain  Gifford's  *  Cedars  of  New  England '  [N.  A.,  1877]  is  a  canvas  of  strong  feeling 
and  fine  execution,  which  deserves  a  small  room  all  to  itself,  where  it  would  not  be  in- 
terfered with  by  other  pictures."  —  New  York  Times,  April  13,  1877. 

"  Mr.  Swain  Gifford  exhibited  '  Boats  at  Boulak  on  the  Nile '  and  *  An  Egyptian  Foun- 
tain,' which  show  admirable  vigor  and  breadth  of  treatment.  Mr.  Swain  Gifford  is  best 
known  through  his  Eastern  pictures,  in  which  his  rendering  of  Oriental  life  and  atmos- 
phere is  peculiarly  happy."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Ex- 
hibition o/1876. 

"  R.  Swain  Gifford  is  one  of  the  most  original  of  our  younger  American  artists.  His 
landscapes  are,  as  a  general  thing,  remarkably  true  to  the  local  color  and  characteristics 
of  the  scene  he  paints.  There  is  a  great  variety  in  his  subjects,  and  he  treats  with  equal 
felicity  the  snow-scenes  of  the  Sierras  or  the  pastorals  of  Brittany."  —  Art  Journal,  Octo- 
ber, 1877. 

Gifford,  Fannie  Elliot.  {Am.)  Born  at  New  Bedford,  Mass., 
1844.  She  received  her  art  education  under  Dr.  Bimmer  at  the 
schools  of  the  Cooper  Institute,  New  York,  and  under  Samuel  Gerry  of 
Boston.  The  wife  of  B.  Swain  Gifford,  she  has  occupied  a  studio  in 
New  York  with  her  husband  since  her  marriage  in  1873  or  '74.  Her 
specialty  is  birds  with  landscapes,  and  her  pictures  are  owned  by  John 
Hay,  Louis  C.  Tiffany,  Noah  Brooks,  Daniel  T.  Hoag,  Mrs.  Osborne, 
Edward  Delano,  Dr.  Otis,  and  others. 

Gignoux,  F.  Regis,  N.  A.  (Fr.-Am.)  Born  in  Lyons,  1816.  Edu- 
cated at  Fribourg,  and  at  the  Academy  of  St.  Pierre  in  Lyons,  where 
he  received  an  annual  premium.  Subsequently  he  entered  the  School 
of  Fine  Arts  in  Paris,  and  was  also  a  pupil  of  Delaroche.  He  re- 
moved to  America  in  1844,  was  elected  a  member  of  the  Academy  of 
Design  in  1851,  and  was  first  President  of  the  Brooklyn  Art  Academy. 
He  has  lived  in  France  since  1870.    [Died,  1882.] 

Among  the  better  known  of  Gignoux's  landscapes  are,  "  Virginia 
in  Indian  Summer,"  "  Niagara  in  Winter,"  "  Bernese  Alps  by  Sun- 
rise," "  The  Four  Seasons  in  America  "  (belonging  to  Baron  Roths- 
child of  Paris),  "  Niagara  by  Moonlight  "  (belonging  to  Mr.  Belmont), 
"  The  Dismal  Swamp  "  (the  property  of  the  Earl  of  Ellesmere),  and 
"  Moonlight  on  the  Saguenay,"  which  was  sold  for  $  360  at  the  John- 
ston sale  in  1876. 

His  "  Mount  Washington  "  (belonging  to  A.  T.  Stewart)  was  at  the 
Paris  Exposition  of  1867,  and  his  "  Spring  "  (belonging  to  T.  Mes- 
senger) at  the  Philadelphia  Exhibition  of  1876. 

"  Gignoux  was  first  known  to  us  by  his  winter  landscapes,  executed  with  great  truth 
to  nature  and  beauty  of  effect ;  it  has  been  said  that  some  of  them  are  so  true  to  nature 

that  they  would  attract  a  snow-bunting  from  the  sky  Gignoux  has  made  a  study  of 

American  scenery  under  every  aspect.  He  has  observed  Nature  in  the  New  World  with 
reference  to  the  modifying  influences  of  the  seasons,  sxid  in  many  instances  has  proved 
singularly  felicitous  in  his  true  rendering  of  atmosphere,  sky,  and  vegetation,  as  they  are 
changed  in  tone,  color,  and  effect,  by  vernal  summer,  autumnal  and  wintry  agencies."  — 
Tuckerman's  Booh  of  the  Artists. 

Gigoux,  Jean  Francois.  (Fr.)  Born  at  Besancon,  1806.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  l'Ecole  des  Beaux- Arts.  Made 
his  debut  at  the  Salon  of  1831,  when  he  exhibited  lithographs  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  297 


studies  in  black  lead.  He  paints  historical  and  genre  subjects  and 
portraits.  At  the  Luxembourg  are  his  "  Death  of  Cleopatra  "  (1850) 
(the  most  admired  of  his  pictures),  "The  Good  Samaritan"  (1857), 
and  a  portrait  of  Fourrier.  His  "  Magdalene  "  was  purchased  for  the 
king.  "  The  Baptism  of  Christ  "  was  ordered  for  the  Ministry  of  the 
Interior,  and  a  "  Nativity  "  for  the  Civil  List.  His  "  Taking  of  Ghent " 
and  a  portrait  of  Charles  VIII.  are  at  Versailles.  Among  his  portraits 
are  those  of  Lamartine,  Arsene  Houssaye,  Considerant,  Taillandier, 
etc.  Gigoux  has  executed  religious  subjects  for  the  churches  of  Saint- 
Germain-l'Auxerrois,  Saint-Merri,  and  Saint-Gervais  and  Saint-Pro- 
tais.  In  1877  he  exhibited  at  the  Salon,  "The  Youth  of  Ruyter"  ; 
in  1876,  "  A  Young  Boy"  and  a  portrait  of  Mile.  L. ;  in  1875,  "The 
Father  Lecour"  ;  in  1872,  "  The  Fisherman  and  the  Little  Fish  "  ;  in 
1870,  "  The  Last  Ecstasy  of  St.  Mary  Magdalene  "  ;  etc.  At  the  Salon 
of  1878  he  exhibited  "  The  Fountain  of  Jouvence." 

"  All  who  love  painting  (and  the  number  is  larger  than  one  thinks)  have  already  seen 
in  the  church  of  Saint-Gervais  and  Saint- Protais,  the  chapel  which  Gigoux  has  finished  ; 
and  all  have  gone  away  satisfied  and  happy  to  find  that  the  painting  of  history  is  not 
dead  in  France.  An  artist  who  has  decorated  a  public  edifice,  who  has  submitted  to 
such  a  proof  without  becoming  weak,  may  carry  his  head  high  ;  he  has  no  more  difficul- 
ties to  fear,  no  more  secrets  to  learn  ;  he  has  risen  to  the  summits  of  his  art.  ....  A  last 
observation  that  applies  to  the  whole  effect  of  these  new  works  of  Gigoux  is,  that  after 
finishing  them  entirely  and  following  the  designs  with  much  science  and  conscientious- 
ness, he  has  understood  how  to  impart  to  them  a  grand  aspect.  Generously,  he  has  con- 
cealed his  labor  under  an  appearance  of  a  free  manner,  full  of  dignity  and  amplitude, 
which,  it  seems  to  us,  is  and  always  will  be  the  most  proper  for  monumental  painting ; 
unless,  with  one  exception,  inimitable  or  very  dangerous  to  imitate,  an  artist  like  Dela- 
croix, in  an  access  of  feverish  passion,  may  there  make  the  tragedies  of  color  to  blaze 
out.  Thus  reduced  to  the  most  calm  and  simple  expression,  the  painting  of  Gigoux  at 
Saint-Gervais  accords  perfectly  with  the  architecture  in  that  it  presents  neither  rehauts 
brilliant,  nor  those  ostentations  of  touch  which  would  be  misplaced  here,  and  which, 
moreover,  would  be  lost  in  the  distance  ;  unctuous  and  firm,  it  takes  the  dull  solidity  of 
the  mural  surfaces,  and  harmonizes  the  freedom  and  stability  of  oil-painting  with  the 
limpidness  of  the  fresco."  —  Charles  Blanc,  Gazette  des  Beaux-Arts,  February,  1864. 

Gilbert,  Sir  John,  R.  A.  (Brit.)  Born,  1817.  From  the  begin- 
ning of  his  career  he  has  painted  in  oil  and  water-colors,  besides 
drawing  on  wood.  Self-taught,  he  first  exhibited  at  the  Royal 
Academy  in  1838.  Among  his  earlier  works  are  several  scenes  from 
"Don  Quixote"  (such  as  "Don  Quixote  and  Sancho  Panza ") 
"  Henry  IV."  i(  Desdemona,"  "  Death  of  Cardinal  Beaufort,"  "  Mur- 
der of  Thomas  a  Becket,"  "  The  Destruction  of  Job's  Flock,"  «  Car- 
dinal Wolsey  and  the  Duke  of  Buckingham,"  etc.  He  sent  to  the  Royal 
Academy,  in  1863,  "An  Army  on  the  March  " ;  in  1867,  "  Rembrandt "; 
in  1871,  "Convocation  of  Clergy";  in  1872  (when  he  was  elected 
Associate  of  the  Royal  Academy),  "  Charles  I.  leaving  Westminster 
Hall  after  the  Sentence  of  Death  had  been  passed  "  ;  in  1873,  "  The 
First  Prince  of  Wales  "  and  "Naseby"  ;  in  1874,  "The  Field  of  the 
Cloth  of  Gold  "  ;  in  1876,  "  Crusaders  "  ;  in  1877  (when  he  was  elected 
Academician),  "  Cardinal  Wolsey  at  Leicester  Abbey  "  and  "  The  Doge 
13* 


298     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  Senators  of  Venice  in  Council"  ;  in  1878,  "Ready"  and  "May 
Dew."  Besides  contributing  many  portraits,  chiefly  of  children,  to  the 
Royal  Academy,  he  has  exhibited  frequently  in  the  gallery  of  the 
Society  of  Painters  in  Water-Colors,  of  which  he  was  made  an  Associate 
Member  in  1852,  and  of  which  he  is  now  President  (1884).  He  ranks 
high  for  his  drawings  on  wood,  and  has  executed  illustrations  for 
many  of  the  pictorial  papers  of  England,  and  for  editions  of  Shaks- 
pere  and  other  standard  works.  He  was  knighted  by  the  Queen  in 
1872.  His  "  Richard  II.  resigning  the  Crown,"  "  The  Arrest  of  Hast- 
ings," "  Cardinal  Wolsey  at  Leicester  Abbey,"  "  The  Doge  and  Sena- 
tors of  Venice  "  were  at  the  Paris  Exposition  of  1878. 

"Sir  John  Gilbert  has  the  faculty  of  thinking  out  his  subject  at  the  end  of  his  pencil 
He  extemportees  on  paper  as  a  musician  does  on  the  piano  ;  a  theme  given,  he  can  reduce 
it  to  form  ;  a  narrative  read,  he  at  once  knows  how  best  a  picture  can  be  made.  His 

fertility  of  pictorial  invention  is  inexhaustible  He  makes  his  whole  picture  speak  ; 

he  is  not  only  painter,  but  actor  ;  and  nature  and  human  nature  are  his  stage  properties. " 
J.  B.  Atkinson  in  English  Artists  of  the  Present  Day. 

"  Sir  John  Gilbert  is  one  of  those  painters  whose  manner  is  such  that  we  have  no 
desire  to  see  it  changed  ;  for  in  his  smaller  drawings  there  is  a  sweetness  and  a  spirit 
apparent  in  the  work  of  but  few  others."  —  Art  Journal,  June,  1873. 

"Sir  John  Gilbert's  'Cardinal  Wolsey  at  Leicester'  [R  A.,  1877]  is  a  fine  historical 
work,  full  of  the  gorgeous  color  and  exquisite  roundness  of  outline  characteristic  of  this 
famous  artist."  —  London  Letter  to  New  York  Times,  June  14,  1877. 

"  Sir  John  Gilbert  is  well  known  among  us  by  his  masterly  illustration  of  old-time 
scenes. "  —  Benjamin's  Contemporary  Art  in  Europe. 

Giles,  James.  (Brit.)  Born  in  Glasgow  (1800  -  1870.)  Son  of 
an  artist  of  Aberdeenshire,  of  good  local  reputation,  under  whom 
he  studied.  He  resided  for  many  years  in  Aberdeen,  painting  occa- 
sional portraits,  devoting  himself  particularly,  however,  to  Highland 
scenery,  fish,  and  game.  He  was  a  member  of  the  Royal  Scottish 
Academy.  His  picture  of  "The  Weird  Wife  "  is  at  the  Scottish  Na- 
tional Gallery. 

Gill,  Edmund.  (Brit.)  Born  at  Islington,  1820.  Son  of  a  modest 
and  comparatively  unknown  painter,  from  whom  he  inherited  much  of 
his  artistic  talent.  He  began  painting  landscapes  from  nature  at  an 
early  age.  Went  to  London  in  1841,  entering  the  Royal  Academy  in 
1843.  In  1842  he  exhibited  at  the  British  Institution,  "  View  of  Croft 
Park,  Herefordshire"  ;  and  at  the  Royal  Academy,  the  same  year, 
"  Peasants  distressed  in  a  Thunder-Storm."  Among  his  works  are, 
"  Landscape  with  Cattle,  —  Evening,"  in  1857  ;  "  Fall  of  the  River 
Llugwy,  North  Wales,"  in  1860  ;  "  On  the  Clyde,"  in  1865  ;  "  Fall 
on  the  River  Clyde,  Corra  Linn,"  in  1866  ;  "  Fall  on  the  Tummel, 
Scotland,"  in  1870  ;  "  Storm  subsiding  on  a  Rocky  Coast,"  in  1875  ; 
and  other  attractive  views  of  Welsh  and  Scottish  scenery,  which  meet 
with  ready  sale,  and  are  much  admired. 

"  There  are  many  works  from  the  hands  of  Edmund  Gill  which  we  could  point  out  as 
particularly  noticeable  ;  notably,  his  '  Rapids,' seen  in  the  Academy  of  1872  ;  but  there  is 
one  especially  which  is  far  too  important  to  be  passed  over,  '  The  Waters  dividing  from 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  299 


the  Dry  Land,'  as  expressed  in  the  Book  of  Genesis,  which  was  exhibited  in  the  Acad- 
emy in  1869.  Original  in  conception  and  grand  in  treatment,  this  picture  could  scarcely 
he  surpassed,  after  its  kind,  had  it  been  more  brilliant  in  color."  —  Art  Journal,  Feb- 
ruary, 1874. 

Girard,  Firmin.  (Fr.)  Born  at  Poucin.  Medals  in  1863  and  74. 
Pupil  of  Gleyre.  At  the  Salon  of  1877  he  exhibited  "A  Bear-Trainer 
at  Aurillac";  in  1876,  "  The  Quay  of  Flowers,"  and  "Pigs  and  Tur- 
keys in  1875,  "  The  Garden  of  the  Godmother,"  "  First  Caresses," 
and  a  portrait ;  in  1874,  "  Revery,"  "  The  Betrothed  Couple,"  and 
"  La  Peche."  His  "  Flower-Market "  was  exhibited  in  New  York. 
Of  this  painting  the  New  York  Times,  January  26,  1877,  says:  — 

"The  actual  workmanship  of  this  picture  requires  no  praise;  to  see  it  is  to  wonder  at 
the  admirable  hand  that  can  group,  with  such  close  fidelity  to  nature,  human  beings, 
flowers,  carts,  and  other  city  things,  —  a  near  approach  to  the  real  thing,  however,  but 
nothing  more.  Wonderfully  accurate,  but  must  make  the  bones  of  Delacroix  rattle  in 
his  grave." 

This  picture,  and  a  study  made  for  it,  are  both  in  the  gallery  of  Mr. 
T.  R.  Butler  of  New  York. 

Girardet,  Karl.  (Swiss.)  Born  at  Neuchatel  (1810- about  1871). 
Member  of  the  Academy  of  Amsterdam.  Grand  medal  of  honor  of 
Prussia.  Two  medals  at  Paris  Salons,  and  an  honorable  mention  at 
the  Exposition  of  1855.  Pupil  of  Leon  Cogniet.  He  was  only  eight 
years  old  when  he  went  to  Paris,  but  on  account  of  his  foreign  birth, 
he  could  not  contend  for  the  prizes  of  the  Beaux- Arts.  Among  his 
works  are,  "  A  Mosque  at  Cairo,"  purchased  by  the  Duke  de  Mont- 
pensier  ;  "The  Pavilion  of  the  Bey  of  Morocco  at  Isly  ";  and  "  The 
Dance  of  the  Ioways  at  the  Tuileries,"  at  Versailles.  His  best  his- 
toric picture  is  "Protestants  surprised  in  their  Worship,"  which  is 
in  the  Museum  of  Neuchatel.  He  exhibited  at  the  Salon  of  1870, 
"  A  Storm  in  Valais  "  and  "  View  of  Lake  Wallenstat ";  in  1866,  "  A 
View  on  the  Banks  of  the  Cher"  and  "Sunrise  on  the  Toccia";  in 
1865,  "  A  Waterfall  at  Murg  ";  in  1864,  several  views  of  Swiss  scen- 
ery. The  rapidity  with  which  Girardet  worked  was  remarkable. 
During  a  short  journey  to  Madrid  he  made  thirty  sketches  and 
eighty  portraits,  besides  rough  draughts  of  costumes,  scenery,  etc.  He 
traveled  in  Italy,  Algiers,  Egypt,  Turkey,  and  Germany.  This  artist 
also  made  numerous  designs  for  illustrated  publications. 

Girardet,  Edouard-Henri.  (Swiss.)  Born  at  Neuchatel,  1819. 
Chevalier  of  the  Legion  of  Honor.  Brother  of  the  preceding,  with 
whom  he  traveled  in  Egypt  and  Algiers.  His  subjects  are  genre  and 
fantastic.  He  also  engraves  in  what  the  French,  call  maniere  noire, 
which  means  that  the  shades  are  not  well  managed,  and  the  blacks 
are  too  prominent.  Among  his  pictures  are,  "  The  Little  Apple- 
Thieves,"  "A  Village  Wedding,"  "The  Difficult  Letter,"  "The 
Wounded  Kid/'  etc.  He  has  engraved  "  Moliere  at  the  Table  of 
Louis  XIV.,"  after  Gerome;  "The  Return  from  Golgotha"  and 
"  The  Virgin  contemplating  the  Crown  of  Crowns/'  after  Paul  Dela- 
roche  ;  etc. 


300     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Girardet,  Paul.  (Swiss.)  Born  at  Neuchatel,  1821.  Five  medals 
at  Paris  Salons.  Brother  of  Karl  and  Edouard  Girardet.  This  en- 
graver has  also  the  maniere  noire.  He  exhibited  at  the  Salon  of  1870 
"  Love  Retaken,"  after  Antigna,  and  "  The  Difficult  Stroke,"  after 
Boutibonne;  in  1869,  "The  Prodigal  Son,"  after  E.  Dubufe,  and 
"  An  Episode  of  the  Battle  of  Custoza,"  after  Grimaldi;  in  1866,  "The 
Call  of  the  Condemned,"  after  Miiller;  in  1865,  "  The  Mountebank," 
after  Knaus;  and  in  1863,  "An  Alsatian  Wedding,"  after  Brion. 

G-iraud,  Pierre-Francois-Eugene.  (Fr.)  Born  at  Paris,  1806. 
Officer  of  the  Legion  of  Honor.  Pupil  of  Richomme  and  Hersent. 
Took  the  prix  de  Rome  for  engraving  in  1826.  His  only  noteworthy 
engravings  are  the  "  Virgin  with  the  Green  Cushion,"  after  Solari, 
and  the  portrait  of  Jean  Richardot,  after  Rubens.  Among  his  pictures 
are,  "  The  Dance  in  a  Posada  of  Granada,"  in  1853  ;  "  A  Dancing- 
Girl  of  Cairo,"  in  1866;  and  "La  Devisa"  (an  incident  of  a  Bull- 
Fight),  in  1869:  all  at  the  Luxembourg.  In  1877  he  exhibited  at  the 
Paris  Salon,  "  La  Salle  des  Pas-Perdus  "  and  "  The  Return  from  the 
Cabaret";  in  1876,  "The  Flower- Market  under  the  Directory";  in 
1875,  "  The  Dealers  in  Second-Hand  Books  ";  in  1874,  "  The  Repose  " 
and  the  "  Merchant  of  Jewels  to  the  Harem";  in  1873,  "Departure 
for  the  Army  of  Conde"  and  "  Disillusion  "  ;  etc.     [Died,  1881.] 

Giraud,  Sebastien-Charles.  (Fr.)  Born  at  Paris,  1819.  Cheva- 
lier of  the  Legion  of  Honor.  Brother  and  pupil  of  the  preceding. 
Charles  Giraud  has  traveled  much,  and  has  visited  America  and  the 
northern  countries  of  Europe.  "A  Salon  of  the  Hotel  Cluny  "  (1867) 
is  at  the  Luxembourg.  At  the  Salon  of  1877  he  exhibited  "  The 
Apple-Gathering,  —  a  Souvenir  of  Brittany";  in  1876,  "A  Flemish 
Interior"  ;  in  1875,  "The  Adieu"  ;  in  1874,  "The  Landing-Place  at 
Brienz,  Switzerland";  in  1873,  "Spinners  of  Brittany";  and  in  1878, 
"  Sunday  in  Brittany." 

Giraud,  Victor.  (Fr.)  Born  at  Paris  (1840- 1871).  Medals  in 
1867,  '68,  and  '70.  Pupil  of  Picot  and  Eugene  Giraud.  His  "  Slave- 
Merchant"  (1867)  is  in  the  Luxembourg.  At  the  Salon  in  1870  he 
exhibited  "  The  Charmer,"  and  in  1868,  "  The  Husband's  Return." 

Giroux,  Andre.  (Fr.)  Born  at  Paris,  1801.  Chevalier  of  the 
Legion  of  Honor.  Studied  under  Thibaut,  and  took  the  prix  de  Rome 
in  1825.  His  "View  of  the  Plain  of  Gresivaudan,  near  Grenoble" 
(1837)  is  at  the  Luxembourg.  All  his  pictures  are  landscapes,  and 
many  of  them  are  of  French  scenery. 

Gisbert,  Antonio.  (Span.)  Born  at  Alcoy.  Officer  of  the  Le- 
gion of  Honor.  Medal  at  Philadelphia.  Pupil  of  the  School  of  Fine 
Arts  at  Madrid.  At  Philadelphia  he  exhibited  "  The  Landing  of  the 
Pilgrims  in  America."  At  the  Salon  of  Paris,  in  1876,  were  "  The 
Fete  of  the  Grandfather"  and  "  In  the  Garden"  ;  in  1875,  "Christopher 
Columbus  embarking  for  his  Voyage  of  Discovery  "  and  "  A  Young 
Girl  studying "  ;  etc.   John  F.  "Weir  says  of  the  first-named  work : 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  301 


"  It  is  serious  and  thoughtful ;  the  figures  have  great  dignity  and 
simplicity  of  character."  At  the  Paris  Salon  of  1878  he  exhibited 
a  "  Portrait  of  Mile.  Righetti,  dans  la  Muette." 

Glaize,  Auguste  Barthelemy.  (Fr.)  Born  at  Montpellier  about 
1812.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  M.  M.  Deveria. 
This  artist  also  works  in  pastels  and  makes  lithographs.  His  subjects 
are  varied  ;  he  paints  some  portraits.  His  "  Quicksands  "  (1863)  is 
at  the  Luxembourg.  At  the  Salon  of  1877  he  exhibited  "  The  Blind 
Man  and  the  Paralytic  "  (Fables  of  Florian)  ;  in  1876,  "  The  Cynic 
and  the  Philanthropist"  ;  in  1875,  "Christ  and  the  Woman  taken  in 
Adultery  "  and  "  The  Insect  "  ;  in  1874,  "  Les  cendres  "  and  "  A  Path 
at  Rosebois  "  ;  in  1873,  "  Portrait  of  a  Young  Man  "  and  a  triptych, 
"  Salome,  —  The  Death  of  John  the  Baptist,  —  Herodias  "  ;  and  in 
1872,  "A  Spectacle  of  Human  Folly."  At  the  Salon  of  1878  he  ex- 
hibited "  Force." 

Glaize,  Fierre-Paul-Le*on.  (Fr.)  Born  at  Paris,  1842.  Medals 
in  1864,  '66,  and  '68.  Son  of  the  preceding.  Pupil  of  his  father  and 
of  Gerome.  He  made  his  debut  at  the  Salon  of  1859  with  a  picture  of 
the  "  Treason  of  Delilah,"  which  was  honorably  mentioned.  In  1861 
he  sent  for  exhibition  "  Samson  taken  by  the  Philistines  "  (which 
Theophile  Gautier  praised)  and  "  Fauns  and  Nymphs,"  now  at  the 
Museum  of  Montauban.  About  this  time  the  younger  Glaize  came 
under  the  influence  of  Gerome,  and  painted  "  iEsop  at  the  House  of 
Xanthus,"  now  at  the  Museum  of  Dijon.  Next  came  "  Samson 
breaking  the  Cords  "  (1864),  now  at  the  Museum  of  Mulhouse.  His 
"  Christ  and  the  Ten  Lepers  "  is  at  the  church  of  the  Blancs-Man- 
teaux  ;  the  "  Nights  of  Penelope "  is  at  Brussels.  In  1867,  "  Her- 
cules between  Vice  and  Virtue  "  was  bought  by  the  State  and  sent  to 
Montauban.  In  1868,  for  his  portraits  of  his  mother  and  of  a  little 
girl,  he  received  a  medal  ;  they  were  much  admired,  and  Simile  Ber- 
gerat  said  that  if  the  portrait  of  his  mother  "had  been  his  only  work, 
Leon  Glaize  would  have  been  a  master."  His  "First  Duel  "  (1870) 
is  at  Aries  ;  and  on  account  of  its  merits  that  city  commanded  from 
him  a  picture  of  the  "  Death  of  St.  Louis,"  now  at  Saint-Louis- 
d'Antin.  In  1875  he  was  sent  by  the  government  to  Amsterdam  to 
copy  the  "  Syndics  "  of  Rembrandt ;  this  work  is  now  at  the  Palais 
des  Beaux- Arts.  In  1875  he  also  exhibited  at  the  Salon  "A  Con- 
juration,—  in  the  Early  Times  of  the  Romans";  in  1876,  "Orpheus"; 
in  1877,  "  Fugitive  Athenians  "  and  a  portrait  of  Mile.  Jeanne  Borie  ; 
and  in  1878,  a  portrait  of  M.  A.  Glaize. 

Glass,  James  W.  (Am.)  (About  1825  - 1857.)  In  1845  he  be- 
came a  pupil  of  Huntington  in  New  York,  going  to  London  in  1847, 
where  he  studied  and  practiced  his  profession  for  some  years.  He 
returned  to  America  in  1856.  His  "  Last  Return  from  Duty,"  an 
equestrian  portrait  of  the  Duke  of  Wellington,  brought  him  first  into 
prominent  notice  in  England.    It  was  purchased  by  Lord  Ellesmere, 


302     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  a  duplicate  was  subsequently  ordered  by  the  Queen.  It  has  been 
engraved  by  James  Faed.  Among  his  works  are,  "  The  Battle  of 
Naseby,"  in  the  Wright  Collection  ;  "  Edge  Hill,"  "  The  Royal  Stand- 
ard," "  Puritan  and  Cavalier,"  "  Free  Companion,"  and  others  of  a 
similar  character.   He  was  particularly  happy  in  his  drawing  of  horses. 

Gley re,  Marc  Charles -Gabriel.  (Swiss.)  Born  at  Chevilly( 1806- 
1874).  Two  medals  at  Paris.  In  1824  he  first  went  to  Paris  and 
entered  the  studio  of  Hersent,  who  was  not  a  first-rate  teacher.  In 
1828  Gleyre  went  to  Italy,  where  he  devotedly  copied  and  studied  the 
works  of  the  masters.  He  made  his  debut  at  the  Salon  of  1840  by 
"St.  John  inspired  by  the  Apocalyptic  Vision"  ;  in  1843  he  exhib- 
ited the  "  Evening,"  now  at  the  Luxembourg,  by  which  he  acquired 
his  first  fame  ;  in  1845  he  exhibited  "  The  Departure  of  the  Apostles 
to  preach  the  Gospel,"  and  in  1848,  "  The  Dance  of  the  Bacchantes." 
After  this  time  he  sent  no  picture  to  any  public  exhibition.  At  the 
Museum  of  Lausanne  are  the  "  Death  of  Major  Duval "  and  the 
"  Battle  of  Leman."  In  the  church  of  Sainte  Marguerite,  at  Paris, 
is  his  "  Pentecost."  "  Venus  riding  on  a  Goat "  was  exhibited  by 
Goupil  in  1860,  but  it  was  probably  painted  several  years  earlier. 
Among  his  other  works  are,  "  Hercules  at  the  Feet  of  Omphale," 
"The  Charmer,"  "Jeanne  d'Arc  in  the  Forest,"  "Ruth  and  Boaz," 
"  The  Deluge,"  "  Pentheus  pursued  by  the  Mainades "  (a  chef- 
d'oeuvre),  "  Minerva  and  the  Graces,"  etc.  Gleyre  died  almost  in- 
stantly, from  the  rupture  of  a  blood-vessel  of  the  heart,  May  4, 1874, 
while  visiting  the  Alsaciens-Lorrains  Exhibition  at  the  Palais  Bour- 
bon. At  the  Johnston  sale,  "  The  Bath  of  a  Young  Roman  "  (36  by 
25)  was  sold  for  $  5,200,  and  was  at  that  time  the  only  specimen  of 
this  artist's  work  in  America.  It  was  sent  from  his  studio  to  New 
York,  few  people  having  seen  it ;  but  the  critics  who  have  written  of 
Gleyre  judge  it  to  be  a  masterpiece  from  the  sketches  of  it  which  they 
have  seen. 

"The  countrymen  of  Gleyre  propose  to  erect  a  monument  to  him.  Certainly  he  has 
well  merited  this  honor,  the  serious  artist  whose  life,  consecrated  entirely  to  medita- 
tion and  labor,  has  been  passed  in  silence,  but  has  been  fruitful.  Gleyre  has  not 
mingled  his  name  in  the  noise  of  our  disputes  ;  he  has  assisted  without  taking  part  in 
the  grand  romantic  battle  ;  he  has  not  wished  to  serve  as  chief  of  the  little  school  of 
neo-Greeks,  whose  scanty  ideal  accorded  so  little  with  his  aspirations  ;  he  has  fought 
alone,  without  thought  of  public  applause,  having  his  friends  alone  as  witnesses.  His 
talent  had  less  of  force  than  of  elegance,  less  of  energy  than  of  delicacy  ;  but  if  Gleyre  is 
essentially  the  painter  of  Omphale,  of  Sappho,  of  the  Charmer,  let  us  not  forget  that  he 
has  left  us  'The  Battle  of  Leman  '  and  the  '  Pentheus.'  He  has  thus  shown,  by  some 
powerful  works,  that  outside  of  the  grace  which  was  his  incontestable  domain  he  was 
able  sometimes  to  make  the  victorious  sally  and  the  grand  flight. "—  Paul  Mantz, 
Gazette  des  Beaux- Arts,  May,  1875. 

"Gleyre  was  endowed  by  nature  with  the  rarest  gifts  and  the  most  precious  talents  : 
an  inventive,  chaste,  and  poetic  genius  ;  the  sentiment  of  style,  supreme  beauty,  and 
pure  form,  exquisite,  ideal,  and  delicate  ;  a  sensitiveness  which  gave  to  his  works  a  par- 
ticular significance  ;  the  talent  of  lending  a  real  and  precise  form  to  the  most  fugitive 
dreams  and  the  most  wayward  thoughts.    His  fine  natural  gifts,  subjected  to  severe 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  303 


and  uninterrupted  studies,  were  thereby  matured  for  the  great  part  he  had  to  play 
among  his  contemporaries.  Whatever  he  undertook  was  executed  with  scrupulous  con- 
scientiousness, without  either  fraud  or  artince."—  Paris  Correspondent  of  Appletons' 
Journal,  June  6,  1874. 

Godebski,  Cyprien.  (Pole.)  Born  at  Mery-sur-Cher,  1835. 
Member  of  the  Academy  of  St.  Petersburg,  and  Chevalier  of  the 
Order  of  Leopold.  Pupil  of  the  sculptor  Jouffroy.  This  artist  has 
been  much  employed  in  large  works,  among  which  are  the  decoration 
of  the  Hotel  des  Invalides  at  Lemberg  in  Gallicia  ;  statues  of  the 
generals  Landon  and  Lassy  for  the  Arsenal  at  Vienna  ;  that  of  the 
celebrated  violinist  Francois  Servais  (his  brother-in-law),  which 
was  erected  at  Hal ;  the  monument  to  Moniusko  in  the  Cathe- 
dral at  Warsaw  ;  a  monument  commemorative  of  the  Crimean  War 
for  the  city  of  Sebastopol  ;  the  monument  to  Theophile  Gautier,  at 
the  Cemetery  du  Nord  at  Paris  ;  etc.  He  has  contributed  to  the 
Salons  irregularly  ;  still,  many  of  his  portrait  busts,  and  other  works, 
have  been  seen  there  since  1857.  At  Philadelphia  he  exhibited  the 
"  Drunken  Moujik  "  and  a  "  Russian  Peasant  -Woman,"  both  in  mar- 
ble, and  received  a  medal.  At  the  Salon  of  1878  he  exhibited  two 
portrait  busts,  in  marble. 

Gonzalvo,  Perez  Pablo.  (Span.)  Medal  at  Philadelphia,  where 
he  exhibited  "  La  Seo,  Cathedral  of  Saragossa,"  "  Chapel  and  Mauso- 
leum of  King  Ferdinand  and  Queen  Isabella,  called  the  Catholic, 
in  the  Cathedral  of  Granada,"  "  Chapel  in  the  Cathedral  of  Avila," 
"Sacristy  in  the  Cathedral  of  Avila"  (much  admired),  and  "The 
Basilica  of  San  Vicente."  The  works  of  this  painter  are  called 
"  conspicuously  worthy  of  commendation  "  in  the  report  of  John  F. 
Weir. 

Good,  Thomas  Sword.  (Brit.)  Born  at  Berwick-on-Tweed 
(1789-1872).  Began  life  as  a  house-painter  in  his  native  town, 
turning  his  attention  later  to  figure-painting  on  canvas,  following  the 
style  of  Wilkie.  He  first  exhibited  at  the  Royal  Academy  in  1820, 
retiring  from  active  practice  of  his  profession  in  1833.  Among  his 
works  may  be  mentioned,  "  The  Truant,"  "  The  Industrious  Mother," 
"The  Merry  Cottagers,"  "Smugglers  Resting,"  "A  Scotch  Shep- 
herd," etc.  Three  of  his  works,  "The  Newspaper,"  "No  News," 
and  "  Study  of  a  Boy,"  are  in  the  National  Gallery,  London. 

Goodall,  Edward.  (Brit.)  (1795-1870.)  As  an  artist  he  was 
entirely  self-taught.  He  began  life  as  an  engraver  and  landscape- 
painter,  exhibiting  several  pictures  in  oil  at  the  Royal  Academy. 
Attracting  the  attention  of  Turner  at  an  early  age,  he  received  a 
standing  offer  from  that  artist  to  engrave  his  works  as  they  were  pro- 
duced, and  abandoned  painting  entirely.  Among  his  plates  after 
Turner  are,  "  Cologne,"  "  Tivoli,"  "  Caligula's  Bridge,"  "Old  London, 
Bridge,"  and  many  views  of  England,  Wales,  and  the  South  Coast. 
He  engraved  several  of  the  works  of  his  son,  Frederick  Goodall, 


304     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


R.  A.,  and  the  illustrations  for  Campbell's  Poems,  Rogers'  "  Italy," 
"  Pleasures  of  Memory,"  and  others. 

Goodall,  Frederick,  R.  A.  (Brit.)  Born  in  London,  1822. 
Pupil  of  his  father,  Edward  Goodall,  an  engraver  of  eminence.  He 
won  the  "  Isis  "  medal  of  the  Society  of  Arts,  when  fourteen  years  of 
age,  for  a  drawing  of  "Lambeth  Palace"  ;  a  large  silver  medal  from 
the  same  society,  a  few  years  later,  for  "  The  Finding  of  the  Dead 
Body  of  a  Miner  by  Torchlight,"  his  first  effort  in  oil.  He  also  re- 
ceived a  prize  of  £  50  from  the  British  Institution  for  "  The  Chris- 
tening." He  visited  Normandy  several  times  for  the  purpose  of 
sketching  and  study.  First  exhibited  at  the  Royal  Academy,  in  1839, 
"  French  Soldiers  playing  at  Cards  in  a  Cabaret."  Among  his  earlier 
works  are,  "  The  Veteran  of  the  Old  Guard,"  "  The  Wounded  Soldier," 
"  Irish  Courtship,"  "  Raising  the  Maypole,"  "  Cranmer  at  the  Traitor's 
Gate,"  "  An  Episode  of  the  Happier  Days  of  Charles  L,"  "  The  Tired 
Soldier,"  and  "  The  Village  Festival "  ;  the  last  is  now  in  the  Vernon 
Collection  in  the  National  Gallery.  He  was  elected  Associate  of  the 
Royal  Academy  in  1852,  and  Academician  in  1864,  when  he  exhibited 
his  "  Summer  Song"  and  "  The  Song  of  the  Nubian  Slave  "  (his  di- 
ploma work).  In  1867  he  exhibited  "  Rebekah"  ;  in  1870,  "  Joche- 
bed";  in  1872,  "A  Bedouin  Mother  and  Child,  —  Afterglow "  ;  in 
1873,  "  Subsiding  of  the  Nile"  ;  in  1875,  "  Rachel  and  her  Flock" ; 
in  1876,  "An  Intruder  on  the  Bedouin's  Pasture"  ;  in  1877,  "The 
Time  of  Roses  "  and  "The  Egyptian  Water-Carriers";  in  1878,  "  The 
Daughter  of  Laban  "  and  "  Palm  Sunday."  His  "  Head  of  the  House 
at  Prayer,"  "Rachel,"  "  Glencoe,"  "Spring,"  and  "The  Time  of 
Roses  "  were  at  the  Paris  Exposition  of  1878.  He  is  an  Honorary 
Member  of  the  Institute  of  Painters  in  Water-Colors. 

"  One  of  the  most  remarkable  single  studies  brought  home  by  Frederick  Goodall  is 
a  An  Arab  Improvisatore '  [R.  A.,  1873],  which  is  wonderfully  complete,  original,  and 
life-like.  The  face,  with  its  expression,  engages  us  at  once,  and  we  cannot  resist  his 
importunity  to  move  us  to  listen  to  his  story."  —  AH  Jmrnal,  June,  1873. 

Goodall,  Walter.  (Brit.)  Son  of  Edward  Goodall,  and  brother 
of  Frederick  and  Edward  A.  Goodall.  He  inherits  much  of  the  family 
talent  for  art,  devoting  himself  particularly  to  painting  in  water-col- 
ors, and  contributing  regularly  to  the  exhibitions  of  the  Old  Water- 
Color  Society,  of  which  he  is  an  active  member.  He  exhibited,  in 
1872,  "A  Venetian  Fruit-Boat"  and  "A  Devotee";  in  1873,  "Far 
from  Home  "  and  "  School  in  the  Cloister  "  ;  in  1875,  "  On  the  Coast "  ; 
in  1877,  "Among  the  Rocks";  in  1878,  "The  Cottager's  Harvest" 
and  "  The  Day- Dream."  His  "  Lottery-Ticket  "  was  at  the  Centen- 
nial Exhibition  at  Philadelphia  in  1876. 

Goodall,  Edward  A.  (Brit.)  Son  of  Edward  Goodall  the  en- 
graver, and  brother  of  Frederick  and  Walter  Goodall.  He  is  a  resident 
of  London,  and  has  been  for  some  years  a  member  of  the  Society  of 
Painters  in  W'ater-Colors,  of  which  he  was  elected  Trustee  in  1875, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  305 


Among  his  works  exhibited  in  different  seasons  are,  "  The  Silk  and 
Cotton  Bazaar,  Cairo  "  ;  "  Coppersmith's  Bazaar,  Cairo  "  ;  "  Tombs  of 
the  Caliphs,"  "  A  Street  in  Venice,"  "  Valley  of  the  Nile,"  "  Spring- 
time in  Egypt,"  etc.  To  the  Philadelphia  Exhibition  of  1876  he 
sent  "  The  Ancient  Causeway  near  the  Pyramids  of  Sakhara  "  and 
"  The  Rialto."  To  Paris,  in  1878,  he  sent  "  Near  the  Pyramid  of 
Sakhara "  and  "  The  Silk  and  Calico  Bazaar."  At  the  Mechanics' 
Fair,  Boston,  1878,  was  exhibited  "  On  the  Lagunes,  Venice,  —  Low 
Water,"  belonging  to  S.  D.  Warren. 

Gordigiani,  Michele.  (Ital.)  Born  at  Florence,  1828.  Member 
of  many  academies.  Son  of  the  celebrated  composer  of  music.  He 
ranks  very  high  in  portraiture.  Among  his  works  are  the  very  beau- 
tiful portrait  of  the  Countess  Tolomei  of  Kome,  portraits  of  Prince 
Lucien  and  the  Princess  Bonaparte,  Count  Camillo  Cavour,  Andrea 
Maffei  the  celebrated  translator  of  Schiller,  all  the  members  of  the 
Koyal  Family  of  Italy,  and  many  others  in  private  collections.  His 
pictures  are  known  in  the  United  States,  as  well  as  in  Europe. 
To  the  Paris  Exposition  of  1878  he  sent  a  portrait  of  the  Queen  of 
Italy. 

Gordon,  Sir  John  Watson,  R.  A.  (Brit)  Born  in  Edinburgh 
(1798-1864).  Student  of  Trustees  Academy,  Edinburgh.  In  his 
early  life  painted  genre  and  historical  pictures,  but  devoted  himself 
almost  exclusively  to  portraits  in  his  later  years,  painting  a  large 
number  of  his  more  distinguished  countrymen.  He  was  one  of  the 
first  members  of  the  Royal  Scottish  Academy,  and  elected  its  Presi- 
dent in  1851.  He  exhibited  frequently  in  the  London  Royal  Acad- 
emy, of  which  he  was  made  Associate  in  1841,  and  Academician  ten 
years  later.  He  was  appointed  by  the  Queen  Limner  for  Scotland, 
and  received  the  order  of  knighthood. 

"  Sir  John  Gordon  continued  for  many  years  the  great  Scottish  portrait-painter,  hav- 
ing in  a  considerable  measure  the  qualities  of  neatness,  vigor,  and  clearness,  which 
from  the  days  of  Raeburn  have  become  identified  with  the  best  Scottish  portrait-paint- 
ing, so  as  to  be  almost  a  tradition."  —  Mes.  Tytler's  Modern  Painters. 

Gosling,  William.  (Brit.)  Contemporary  English  painter,  liv- 
ing near  London.  Member  of  the  Society  of  British  Artists,  devot- 
ing himself  chiefly  to  landscapes.  Among  his  later  works  are, iC  The 
Barley  Field,"  "  Counting  the  Flock,"  "  Autumn,"  "  On  the  Dait  at 
Ditcham,"  "  A  Hot  Day  in  the  Harvest  Field,"  "  Church  Pool  at  War- 
grave  on  Thames,"  etc.    [Died,  1883.] 

"By  William  Gosling  is  a  landscape  of  remarkable  power,  when  we  look  back  and 
consider  his  earlier  performances.  It  is  entitled  '  Harvest  Time  at  Hennerton  '  [S.  B.  A., 
1873],  and  shows  a  field  of  corn  already  yielding  to  the  sickle.  The  expanse  of  golden 
grain  is  bounded  by  a  dense  wood  ;  and  altogether  the  work  is  so  much  superior  to 
others  that  have  preceded  it,  that  this  artist  must  be  estimated  among  those  who  have 
greatly  advanced."  —  Art  Journal,  May,  1873. 

Gosse,  Nicolas-Louis-Francois.  (Fr.)  Born  at  Paris,  1787. 
Officer  of  the  Legion  of  Honor.     Pupil  of  Andre  Vincent  and  of 

T 


306     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


l'^cole  des  Beaux- Arts.  This  artist  is  famous  for  his  decorative  and 
monumental  paintings,  which  are  seen  in  many  churches,  galleries, 
and  other  public  buildings  in  France.  His  picture  of  "  Saint- Vin- 
cent de  Paul  converting  his  Master  "  was  purchased  for  the  Luxem- 
bourg. 

Goubie,  Jean-Richard.  (Fr.)  Born  at  Paris.  Medal  in  1874. 
Pupil  of  Gerome.  At  the  Paris  Exposition,  1878,  he  exhibited  "  Le 
vol  de  la  corneille,"  "  The  Education  of  Fillette,"  and  "  The  Wed- 
ding Journey."  To  the  Salon  of  the  same  year  he  sent  "Achat 
de  juments  dans  une  vielle  poulinerie,"  "An  Amorous  Lion," 
etc. 

Gould,  Thomas  R.  (Am.)  Born  in  Boston,  1818.  He  modeled 
his  first  figure  in  1851  in  the  studio  of  Seth  Cheney,  who  was  his 
only  master,  and  from  whom  he  learned  the  principles  of  art.  He 
practiced  his  profession  in  Boston  until  1868,  when  he  went  to  Italy, 
settling  in  Florence,  where  he  spent  ten  years.  He  returned  to  Bos- 
ton in  the  spring  of  1878.  Among  the  better  known  of  Gould's 
ideal  statues  are,  "  The  West  Wind,"  in  marble,  seven  repetitions  of 
which  are  in  private  galleries  in  the  United  States  ;  "  Cleopatra " 
(belonging  to  Isaac  Fenno,  Boston  Highlands)  ;  "  Timon  of  Athens  "  ; 
and  "  Ariel."  "  Christ  "  and  "  Satan,"  two  colossal  heads,  were  at 
the  Boston  Athenseum  in  1863,  and  later  at  his  studio  in  Florence. 
"  The  Ghost  in  Hamlet,"  front  view  of  a  large  life-sized  head  in  alto 
rilievo,  was  exhibited  in  Boston  in  1878.  "  Steam  "  and  "  Electricity," 
two  colossal  heads  also  in  relief,  are  in  the  vestibule  of  the  Herald 
Building  in  Boston.  His  portrait  statue  of  John  Hancock,  exhibited 
at  the  Centennial  Exhibition  of  the  Battle  of  Lexington  in  1775,  is 
now  in  the  Lexington  Town  Hall.  His  portrait  statue  of  Governor 
Andrew  of  Massachusetts,  a  commission  from  the  soldiers  of  the 
Grand  Army,  was  placed  beside  the  grave  of  that  statesman  at  Hing- 
ham,  Mass.,  in  1875.  Among  the  many  portrait  busts  executed  by 
Gould,  may  be  named  that  of  Emerson  (in  the  Harvard  Library), 
William  Munroe  (in  the  Concord  Library),  Seth  Cheney  (belonging 
to  John  Cheney  of  Connecticut),  Governor  Andrew  (belonging  to 
Mrs.  Andrew),  and  Junius  Brutus  Booth  (the  elder  Booth),  in  Booth's 
Theater,  New  York. 

A  copy  of  the  "  West  Wind,"  belonging  to  Demas  Barnes,  was  at 
the  Centennial  Exhibition  at  Philadelphia  in  1876.    [Died,  1881.] 

"  Gould's  breezy  'West  Wind '  is  another  ingenious  attempt  to  escape  from  the  bond- 
age of  effete  personifications  with  fresher  pertinent  styles,  and  his  colossal  head  of 
"Christ,'  as  an  opposing  conception  to  that  of  'Satan, 'also  by  him,  is  one  of  the  finestfelt 
and  conceived  idealisms  in  modern  sculpture,  ....  and  the  time  will  come  in  America 
when,  as  with  Blake's  compositions  in  England,  their  merits  will  be  appreciated,  if  not 
by  the  multitude  by  those  who  comprehend  what  high  art  aspires  to  render."  — Jarves, 
Art  Thoughts. 

"These  two  great  energies  are  strongly  and  characteristically  typified.  'Steam 'is 
represented  by  a  full,  strong  face,  which  impresses  the  beholder  with  an  idea  of  vast 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  307 


reserved  power  and  force,  strong,  enduring,  patient,  yet  potent  and  resistless.  ....  It 
may  be  said  therefore  that,  while  the  head  of  '  Steam '  represents  force,  that  of  '  Electri- 
city '  represents  energy.  The  face  finely  portrays  this,  it  being  less  robust  but  at  the 
same  time  more  energetic  than  that  of  '  Steam.'  "  —  Boston  Herald,  1878. 

Gould,  Walter.  (Am.)  Born  at  Philadelphia,  1829,  where  he 
studied  drawing  and  perspective  under  J.  R.  Smith,  and  in  painting 
received  the  advice  and  assistance  of  Sully.  He  was  elected  a  member 
of  the  Artists'  Fund  Society  of  Philadelphia  in  1846,  working  in  his 
native  city  and  in  Fredericksburg,  Ya.,  where  he  painted  a  large  num- 
ber of  portraits,  nearly  all  of  which  were  destroyed  during  the  Ameri- 
can Civil  War.  In  1849  he  went  to  Italy,  and  with  the  exception  of  a 
few  months'  study  in  Paris  and  occasional  sketching-tours  in  the  East, 
he  has  since  resided  in  Florence.  His  subjects  have  been  almost  ex- 
clusively Oriental  in  character,  illustrative  of  the  habits  and  customs 
of  the  Turks.  In  1851,  while  in  Asia  Minor,  he  lived  with  and  painted 
portraits  of  the  imprisoned  Governor  of  Hungary,  Kossuth,  and  his 
more  prominent  friends  and  followers.  At  Constantinople  he  painted 
the  Grand  Vizier,  Richid  Pasha,  and  Sir  Stratford  Canning,  English 
Ambassador.  His  most  important  work  is  "  An  Eastern  Story-Teller," 
painted  for  and  in  the  collection  of  Matthew  Baird  of  Philadelphia. 

"  Gould  has  long  held  a  high  rank  among  original  painters,  being  very  successful  with 
portraits  as  well  as  with  fine  conceptions  of  his  own.  His  Eastern  travels  have  given 
him  large  material  for  composition,  in  which  Oriental  scenes  are  shown  with  fine  oppor- 
tunity for  the  display  of  his  powers. "  —  Iren^eus,  Letter  to  the  New  York  Observer,  Jan- 
uary 24,  1878. 

Goupil,  Jules.  (Fr.)  Died,  1883.  Medals  in  1873,  '74,  and 
'75.  Pupil  of  A.  Scheffer.  At  the  Salon  of  1878  he  exhibited  "  A 
Village  Woman"  and  "  Le  rendez-vous  manque";  in  1877,  "The 
Visit  of  Condolence  "  and  a  portrait  of  Pierre  Veron  ;  in  1875,  "  In 
1795  "  and  "An  Interior  of  an  Atelier  "  ;  in  1874,  "The  Espousals  "; 
in  1872,  "  News  in  the  Province,  —  an  Episode  of  the  War,"  of  which 
Jules  Claretie  says,  in  his  "  Peintres  et  Sculpteurs  "  :  — 

"  He  represents  three  young  women  reading  a  letter,  —  that  of  a  brother  or  &  fiance,  — 
and  he  calls  it  an  '  Episode  of  the  War.'  M.  Goupil  imitates  Willems.  The  young  girls 
are  dressed  in  grande  toilette  expressly  to  read  this  letter.  They  are  more  like  actresses 
of  the  Gymnase  playing  '  L'Invalid '  of  Amedee  Achard,  than  like  poor  women  separated 
from  their  dear  ones,  who  fear  to  read  that  the  bombshell  has  destroyed  them." 

Gow,  Andrew  C,  A.  R.  A.  (Brit.)  Contemporary  English  artist 
residing  in  London.  He  is  a  member  of  the  Institute  of  Painters  in 
Water-Colors,  exhibiting  there  and  at  the  Royal  Academy,  and  else- 
where. He  devotes  himself  chiefly  to  the  portrayal  of  scenes  in  the 
life  of  the  soldier  after  the  manner  of  the  French  School.  Among 
his  later  works  in  oil  may  be  noticed,  "  The  Tumult  in  the  House  of 
Commons  in  1629,"  "News  from  the  Front,"  "  A  War-Dispatch  at 
the  Hotel  de  Ville,"  etc.  In  water-colors  he  has  painted,  among 
others,  "  The  Attack  Described,"  "  The  Laboratory,"  "  Heavy  Ground," 
and  "  A  Loyal  Bird,  Hudibras."    [A.  R.  A.,  1881.] 


308     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  'Loot,  1797,'  by  Andrew  C.  Gow,  is  an  entirely  fine  picture  of  its  class,  representing 
an  ordinary  fact  of  war  as  it  must  occur  without  any  false  sentiment  or  vulgar  accent. 
Highly  skillful  throughout,  keenly  seen,  well  painted."  —  Ruskin's  Notes  of  the  Academy, 
1875. 

Grower,  Lord  Ronald  Leveson.  (Brit.)  He  belongs  to  the 
Sutherland  family  of  Great  Britain,  and  has  turned  his  attention 
seriously  to  sculpture,  exhibiting  at  the  Royal  Academy  for  some 
years.  To  the  Philadelphia  Exhibition  of  1876  he  sent  "  Marie  An- 
toinette when  Dauphiness  hunting  at  Fontainebleau,  1773  "  "Marie 
Antoinette  on  her  Way  to  Execution,  1793,"  and  "It  is  Finished  "  ; 
to  Paris,  in  1878,  "  La  Garde  meurt  et  ne  se  rende  pas." 

"  The  sculptor  has  imparted  a  dignity  approaching  to-  the  sublime  to  the  daughter  of 
Francis  I,  as  she  leaves  her  prison  on  that  16th  October,  1793,  looking  with  pitiful  con- 
tempt on  the  wretched  rabble  surrounding  the  tumbrel  or  cart  which  is  to  convey  her 
to  the  place  of  execution.  ....  In  the  stately  figure  Lord  Gower  has  produced  we 
recognize  the  embodiment  of  many  of  the  noble  qualities  of  the  daughter  of  Austria."  — 
Art  Journal,  September,  1878. 

Graeb,  Karl-Georg- Anton.  (Ger.)  Born  at  Berlin,  1816.  Mem- 
ber and  Professor  of  the  Berlin  Academy.  Member  of  the  Senate  of 
the  same  Academy,  and  of  the  Academies  of  Amsterdam  and  Vienna. 
Member  of  the  Society  of  Water-Color  Artists  in  Brussels.  Small 
and  great  gold  medals  at  Berlin  ;  two  great  gold  medals  at  Amster- 
dam ;  medal  at  Vienna,  1873  ;  studied  under  J.  Gerst  ;  traveled  in 
Switzerland  and  France,  and  remained  for  some  time  at  Paris.  After 
his  return  to  Berlin  he  sold  the  pictures  and  sketches  made  on  his 
journeys.  After  still  other  wanderings  in  Germany  and  Italy  he 
joined  Gerst,  whose  daughter  he  had  married,  and  they  occupied  the 
same  atelier.  King  Frederick  William  IV.  and  Queen  Elizabeth  gave 
him  commissions.  Some  of  his  decorative  work  may  be  seen  in  the 
New  Museum.  His  architectural  pictures  take  high  rank  ;  they  are 
well  conceived  and  skillfully  executed  ;  he  seeks  no  unusual  effects, 
but  paints  truthfully.  His  water-colors  are  much  admired.  Many 
of  his  oil  pictures,  and  at  least  one  hundred  water-colors,  have  been 
purchased  by  kings  and  emperors.  In  the  Berlin  National  Gallery 
are  his  "  Graves  of  the  Mansfield  Family  in  Eisleben,"  "  The  Lett- 
ner  in  the  Cathedral  of  Halberstadt,"  and  a  "  Thuringian  Landscape 
with  a  Water-Mill."  At  Berlin,  in  1876,  he  exhibited  "  Interior  of 
the  Old  Synagogue  at  Prague  "  and  "  Partie  aus  Ilanz." 

Graef,  Gustav.  (Ger.)  Born  at  Konigsberg,  1821.  Medals  at 
Vienna,  1873  ;  Berlin,  1874  ;  and  Philadelphia,  1876.  Studied  at 
Dusseldorf  under  Hildebrandt  and  Schadow.  Visited  Antwerp,  Paris, 
and  Munich,  and  settled  in  Konigsberg,  where  he  at  first  painted  por- 
traits and  afterwards  historical  subjects.  Among  his  earlier  works 
are,  "  Jephthah,"  "  Ariadne,"  and  "  The  Judas  Kiss."  He  traveled 
much  in  France,  Italy,  England,  and  Scotland,  and  in  his  later  years 
has  devoted  himself  again  to  portrait-painting,  for  which  his  talents 
are  best  suited.    At  the  Konigsberg  University  are  his  "Solon," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  309 


"  Phidias,"  and  "  Demosthenes."  Graef  made  lithographs  after  some 
of  his  portraits.  At  the  National  Gallery  of  Berlin  is  his  "  Vater- 
lands  liebe  im  Jahre  1813  "  ("  Love  of  the  Fatherland  ").  At  Berlin, 
in  1876,  he  exhibited  several  portraits. 

Graham,  Peter,  R.  A.  {Brit.)  Born  at  Edinburgh,  1836.  He 
studied  in  the  School  of  Design,  Edinburgh,  under  R.  S.  Lauder  and 
John  Ballantyne.  His  professional  life  was  spent  in  his  native  city 
until  1866,  when  he  removed  to  London,  where  he  still  resides.  He 
was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1860,  re- 
signing in  1877,  when  he  was  made  an  Honorary  Member.  He  was 
elected  an  Associate  of  the  Royal  Academy  the  same  year.  His 
favorite  subjects  are  Scottish  highland-scenes  with  cattle,  or  rocky 
shores  in  misty  weather.  Among  the  better  known  of  his  works  are, 
"A  Spate  in  the  Highlands"  (R.  A.  1866),  "On  the  Way  to  the 
Cattle-Tryst,"  "Wind,"  "  The  Cradle  of  the  Sea-Bird,"  "Our  North- 
ern Walls,"  "  The  Gently  Heaving  Tide,"  and  "  Wandering  Shadows," 
all  exhibited  at  the  Royal  Academy  in  different  seasons,  the  last  in 
1878.    [R.  A.,  1881.] 

"When  Peter  Graham  exhibited  his  'Spate  in  the  Highlands,'  the  whole  public  was 
moved  as  it  never  is  moved  except  by  work  which  is  not  only  scientilic  but  passionate 
and  artistically  powerful.  We  not  only  knew  that  the  representation  was  true,  but  We 
felt  the  electric  energy  of  the  man  who  had  painted  the  work  passing  and  radiating 
through  it  from  him  to  us.  When  an  artist  has  this  power  of  moving  the  world  he  al- 
most always  belongs  to  the  most  gifted  class. "  —  P.  G.  Hamebton,  in  English  Painters 
of  the  Present  Bay. 

"  We  cannot  forbear  mentioning  the  observant  truthfulness  and  masterly  execution  of 
Peter  Graham's  'Crossing  the  Moor'  [R.  A.,  1875],  a  very  splendid  example  of  land- 
scape-painting, representing  cattle  crossing  a  misty,  heather-clad  Scottish  moor. "  —  Art 
Journal,  June,  1875. 

Graham,  William.  {Am.)  He  has  spent  many  years  in  Rome, 
painting,  generally,  Roman  and  Venetian  landscapes.  As  an  artist  he 
is  comparatively  self-taught.  His  "  Venetian  Lagoon,"  "  Venetian 
Sunset,"  and  "  Winter  Campagna,"  all  belonging  to  J.  M.  Falconer, 
were  at  the  National  Academy,  New  York,  in  the  winter  of  1873. 
At  the  Mechanics'  Fair,  Boston,  1878,  was  exhibited  his  "  Interior  of 
St.  Mark's,  Venice,"  belonging  to  E.  B.  Haskell. 

To  the  Centennial  Exhibition  of  1876,  in  Philadelphia,  he  sent 
"  Angle  Column  of  the  Ducal  Palace,  Venice  "  ;  to  Paris,  in  1878, 
"  View  in  a  California  Cemetery." 

Graham,  Thomas.  {Brit.)  A  native  of  Scotland,  he  was  edu- 
cated in  Edinburgh,  but  has  lived  for  some  years  in  London.  He 
exhibits  at  the  Royal  Academy,  Royal  Scottish  Academy,  and  else- 
where in  Great  Britain.  Among  his  works  are,  "  Monks  playing  at 
Bowls"  (R.  A.,  1867)  ;  "The  Dominie"  (1868)  ;  "The  Laird's  Pew" 
and  "The  Billet-Doux,"  in  1869;  "Wayfarers,"  in  1870;  "Imogen 
in  the  Cave,"  in  1874  ;  "  The  Philosopher's  Breakfast,"  in  1878;  etc. 
"  The  Tire- Woman  "  and  "  The  Gypsy's  Last  Halt "  were  at  the 


310     ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


Paris  Exposition  of  1878  ;  "  A  Mudlark,"  at  the  Grosvenor  Gallery, 
the  same  year. 

The  Wayfarers '  is  disposed  in  an  easy,  unconstrained,  and  unaffected  way.  In 
color  the  picture  is  very  effective,  though  produced  apparently  by  rapid  touches.  High 
finish  is  what  this  artist  never  seems  to  strive  after.  His  manner  generally  is  sketchy, 
but  he  tells  his  story,  whatever  it  may  be,  with  power  and  with  full  knowledge  of  the 
value  of  the  pigments  employed"—  Art  Journal,  July,  1876. 

Graham-Gilbert,  John.  (Brit.)  Born  in  Glasgow  (1794-  1866). 
Brought  up  to  mercantile  pursuits  in  his  native  city,  he  turned  his 
attention  to  the  study  of  art  when  about  twenty-one.  He  entered  the 
Royal  Academy,  London,  in  1818,  and  later  spent  two  years  in  study 
in  Italy.  In  1827  he  settled  in  Edinburgh,  painting  portraits  and  ideal 
figures,  generally  studies  of  Scottish  and  Italian  peasant  life.  He  was 
elected  a  member  of  the  Royal  Scottish  Academy  in  1830,  when  he 
was  known  as  John  Graham.  In  1834,  upon  his  marriage  to  a  Miss 
Gilbert,  he  added  to  his  own  the  name  of  his  wife;  about  the  same 
year  he  removed  to  Glasgow,  where  the  rest  of  his  professional  life  was 
spent.    His  works  are  mostly  owned  in  Scotland. 

Grandsire,  Eugene.  (Fr.)  Born  at  Orleans.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  J.  Noel  and  J.  Dupre.  Landscape-painter. 
At  the  Salon  of  1877  he  exhibited  "The  Mill  of  Simoneau  at  Pont- 
Aven "  and  the  "  Road  to  the  Fountain  of  Saint-Guinole,"  both  in 
Finistere  ;  and  in  1878,  "  View  near  Gratain,  Vosges  "  and  a  sketch 
of  "  Pacage  in  Sologne." 

Grant,  Sir  Francis,  R.  A.  (Brit.)  Born  in  Scotland  (1803- 
1878).  Studied  for  the  bar,  but  relinquished  that  profession  to  be- 
come an  artist  about  1828,  receiving  no  regular  artistic  education.  He 
first  exhibited,  in  1834,  "  The  Breakfast  at  Melton,"  and  for  some  years 
devoted  himself  to  pictures  of  a  sporting  character,  which  contained 
portraits  of  famous  huntsmen  and  horses,  and  were  very  popular  in 
England,  being  frequently  engraved.  Among  these  were,  "  Sir  R.  Sut- 
ton's Hounds,"  "  The  Meet  of  the  Queen's  Stag-Hounds,"  "  The  Mel- 
ton Hunt "  (which  belonged  to  the  Duke  of  Wellington),  "  The  Ascot 
Hunt,"  etc.  His  equestrian  portrait  of  the  Queen,  painted  in  1841, 
has  been  engraved,  as  have  many  of  his  portraits  of  distinguished 
Britons.  In  1841  he  was  elected  Associate  of  the  Royal  Academy,  in 
1851  Academician,  and  President  of  the  Academy  in  1866,  a  position 
which  he  held  at  the  time  of  his  death.  He  succeeded  Sir  Charles 
Eastlake,  and  was  knighted  by  the  Queen  upon  his  election.  He  was 
the  accepted  portrait-painter  of  the  upper  circles  of  England,  and 
among  his  sitters  at  different  times  have  been  Sir  Colin  Campbell  in 
1861,  Earl  of  Elgin  and  Gen.  Sir  Hope  Grant,  his  brother,  in  1862, 
Disraeli  in  1863,  the  Duke  and  Duchess  of  Beaufort  in  1864, 
Duchess  of  Sutherland  and  Lord  Stanley  in  1867,  Duke  of  Cam- 
bridge in  1868,  Duke  of  Roxburgh  in  1873,  Earl  of  Fife  and  Duke  ol 
Rutland  in  1872,  Duke  of  Buckingham  in  1873,  Palmerston  in  1874, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  311 


besides  such  exalted  commoners  as  Landseer,  Lockhart,  and  Macaulay. 
In  addition  to  his  portraits  he  sent  to  the  Royal  Academy  in  1874, 
"Knitting  the  Stocking"  and  "On  Board  the  Harlequin";  in  1876, 
"Winter"  and  "Summer";  in  1877,  "Suspicion";  in  1878,  "Stag 
among  Rocks  "  and  "A  Royal  Group  in  the  Highland  Deer  Forest." 

"  This  eminent  artist  [Grant],  remarkable  for  his  excellence  in  painting  horses,  and 
the  style  of  his  portraits  in  general,  the  striking  resemblances  given  in  them,  and  the 
grand  simplicity  of  character  with  which  they  are  invested,  is  of  ancient  Scottish  fam- 
ily. One  of  th*e  first  portraits  he  painted  professionally  was  the  well-known  equestrian 
one  of  Count  D'Orsay."  —  Memoirs  of  the  Countess  of  Blessing  ton. 

"  But  the  law  is  not  a  profession  so  easily  acquired,  nor  did  Frank's  talents  lie  in  that 
direction,  —  his  passion  for  painting  turned  out  better.  Connoisseurs  approved  of  his 
sketches  both  in  pencil  and  oil,  but  not  without  the  sort  of  criticisms  made  on  these  oc- 
casions ;  that  they  were  admirable  for  an  amateur,  but  it  could  not  be  expected  that  he 
should  submit  to  the  drudgery  absolutely  necessary  for  a  profession,  and  all  that  species 
of  criticism  which  gives  way  before  natural  genius  and  energy  of  character.  In  the 
mean  time  Frank  saw  the  necessity  of  doing  something  better  to  keep  himself  inde- 
pendent, having,  I  think,  too  much  spirit  to  become  a  Jock,  the  laird's  brither,  drinking 
out  the  last  glass  of  the  bottle,  riding  the  horses  which  the  laird  wishes  to  sell,  and 
drawing  sketches  to  amuse  the  lady  and  children.  He  was  above  all  this,  and  honorably 
resolved  to  cultivate  his  taste  foK  painting,  and  become  a  professional  artist.  Iam  no 
judge  of  painting,  but  I  am  conscious  that  Francis  Grant  possesses  with  much  cleverness 
a  sense  of  beauty  derived  from  the  best  source,  that  is,  the  observation  of  the  really 
good  society,  while  in  many  modern  artists  the  want  in  that  species  of  feeling  is  so  great 
as  to  be  revolting."  —  Scott's  Diary,  March  26,  1831,  in  Lockhart's  Life  of  Scott. 

Grant,  Clement  R.  (Am.)  Born  at  Freeport,  Me.,  1849.  Paints 
figures  with  landscapes  and  occasional  portraits.  Has  spent  his  pro- 
fessional life  in  Portland  and  Boston,  where  his  studio  now  is.  At 
the  age  of  eighteen  he  went  to  Europe,  spending  some  months  in  study 
and  observation  in  Great  Britain.  He  is  a  member  of  the  Boston  Art 
Club.  Among  his  more  important  pictures  are,  "  Amy  Wentworth," 
illustrative  of  Whittier's  poem,  and  owned  by  Mr.  Hamlin  of  Boston  ; 
"  Marguerite,"  owned  in  Minnesota  ;  "  O  for  the  Touch  of  a  Van- 
ished Hand  !  "  in  Paris,  France  ;  and  "  Delusions  of  the  Past,  1692," 
exhibited  in  1878. 

"  '  Delusions  of  the  Past,  1692,'  deserves  a  more  than  ordinary  mention.  A  visitor  will 
pause  before  this  picture  and  study  its  well-told  story.  Here  are  broad  fields,  girted  in 
the  horizon's  broken  lines  by  trees.  The  sun  has  gone  down,  and  the  new  crescent  is 
seen  in  the  soft  and  atmospheric  sky.  In  the  foreground  are  the  figures  of  three  ladies 
clad  in  the  costume  of  the  times.  They  wear  a  melancholy  look,  and  the  cause  is  traced 
to  a  figure  in  the  road,  near  the  middle  distance.  It  is  that  of  an  old  witch,  who  stands 
facing  toward  the  three  figures  and  is  muttering  some  strange  things,  and  has  doubtless 
told  the  ladies  that  '  a  touch  from  me  and  you  are  weak  with  pain. ' .  .  .  .  The  artist  may 
be  told  that  he  is  imitating  Boughton,  but  we  do  not  feel  it  so.  It  does  have  a  Boughton 
feeling  in  it,  as  regards  subject,  but  no  more  conspicuous  to  us  than  in  Millet  for  his 
indistinctness,  or  Jules  Breton  in  light  effect,  or  even  the  younger  Kaulbach  for  breadth. 
It  is  possible  for  an  artist  to  be  influenced  by  such  masters  and  to  show  such  influence 
in  his  work,  but  that  Mr.  Grant  has  stolen  from  any  of  these  seems  to  us  impossible."  — ■ 
Boston  Sunday  Times,  January,  1878. 

"  Mr.  Grant  has  shown  a  high  and  delicate  artistic  sense  in  the  selection  of  the  details 
and  general  composition  of  his  picture,  a  certain  repose  and  reserve  in  poetic  invention, 


312     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


which  are  even  more  gratifying  and  promising  than  his  strength  and  steadiness  in  draw- 
ing, in  management  of  colors,  in  values,  and  other  technical  matters."  —  Boston  Tran- 
script, January,  1878. 

Grass,  Philippe.  (Fr.)  Born  at  Walxheim  (1801  -  1876).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  l'Ecole  des  Beaux- Arts  and  of 
Ohmacht  and  Bosio.  This  sculptor  passed  much  time  at  Strasbourg, 
and  many  of  his  works  are  in  that  city.  His  portrait  busts  are  excel- 
lent. At  the  Salon  of  1873  he  exhibited  a  bust  in  bronze,  portrait 
of  Charles  Robert,  and  a  bronze  statuette  of  Emile  Solivestre  ;  in 
1870,  a  plaster  medallion  portrait  of  Mile.  L.  ;  in  1869,  a  portrait  of 
Schimper  of  Strasbourg.  Among  his  imaginary  subjects  are,  "The 
Thinker,"  "  The  Sons  of  Niobe,"  "  A  Suppliant  Slave,"  and  "  Susanna 
at  the  Bath." 

Graves,  Robert.  (Brit.)  (1798  -  1873.)  Came  of  a  family  con- 
nected for  several  generations  with  the  branch  of  the  art  he  prac- 
ticed himself,  his  father  and  brother  being  the  largest  publishers  of 
engravings  in  Great  Britain.  Among  the  better  known  of  his  works 
are,  "  The  Abbotsford  Family,"  after  Wilkie  ;  "  The  Castaway,"  after 
Hawey  ;  "  The  Highland  Whisky-Still,"  after  Landseer  ;  "  The  Blue 
Boy  "  and  portraits  of  the  Duchess  of  Devonshire  and  Mrs.  Siddons, 
after  Gainsborough,  and  many  more  popular  and  valuable  paintings, 
besides  a  great  number  of  plates  for  book  illustration.  His  last  work 
was  a  portrait  of  Charles  Dickens,  after  Frith. 

"  Graves'  plates  are  characterized  more  by  their  refinement  and  delicacy  —  and  in  these 

qualities  they  can  scarcely  be  surpassed  —  than  by  any  remarkable  vigor  of  line  His 

best  subject-plate  is  undoubtedly  the  *  Whisky-Still.' "  —  Art  Journal,  April,  1873. 

Gray,  Henry  Peters,  N.  A.  (Am.)  Born  in  New  York  (1819  - 
1877).  Began  the  study  of  art  under  Huntington  in  1839,  and  went  to 
Europe  a  year  later,  spending  some  time  in  Borne  and  Venice.  He 
painted  portraits  and  genre  pictures  in  New  York,  from  1843  to  '46, 
when  he  made  his  second  voyage  to  Europe,  there  producing  several 
of  his  most  characteristic  works  :  "  Cupid  begging  his  Arrow,  " 
"  Proserpine  and  Bacchus,"  etc.  He  was  made  full  member  of  the 
National  Academy  in  1842,  and  held  the  office  of  President,  succeed- 
ing Huntington,  from  1869  to  '71,  when  he  went  to  Florence,  remain- 
ing until  1874.  He  devoted  himself  principally  to  portrait-painting 
during  the  later  years  of  his  life.  Among  his  better  known  pictures 
are,  "  The  Pride  of  the  Village,"  "  The  Apple  of  Discord  "  (belonging 
to  K.  M.  Olyphant),  "Wages  of  War"  (bought  for  $5,000  and  pre- 
sented to  the  Metropolitan  Museum,  New  York),  "  Just  Fifteen  "  (be- 
longing to  M.  O.  Roberts),  "Twilight  Musings,"  "Blessed  are  the 
Pure  in  Heart,"  "  Truth,"  "  Flower  of  Fiesole "  (property  of  M.  O. 
Roberts),  "  Ophelia,"  "  Normandy  Girl,"  "  Jessica,  or  the  Pride  of  the 
Rialto,"  "  The  Model  from  Cadore,"  "  Immortality  of  the  Soul  "  (be- 
longing to  Edwin  Hoyt),  and  "The  Birth  of  our  Flag"  (N.  A., 
1875).    For  his  "Apple  of  Discord"  he  was  "commended  for  emi- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  313 


nence  in  genre  painting  "  by  the  judges  at  the  Philadelphia  Centennial 
Exhibition  of  1876. 

"  Few  of  our  artists  exhibit  so  clearly  the  result  of  academic  study  as  Henry  Peters  Gray. 
His  careful  and  sympathetic  knowledge  of  the  masters  of  pictorial  art  is  evident  in  all 
his  pictures,  the  best  of  which  have  the  mellow  and  finished  tone  which  distinguishes 

the  Italian  school  We  are  not  surprised  that  his  cabinet  portraits  are  so  much 

sought ;  many  of  them  are  gems  of  art  There  is  indeed  something  in  Gray's  best 

pictures  that  gives  one  the  feeling  of  maturity,  one  of  the  most  rare  sensations  of  Ameri- 
can life."  —  Tuckerman's  Book  of  the  Artists. 

"Mr.  Gray  has  several  fancy  heads  in  the  Exhibition  [N.  A.,  1875],  of  which  the 
'  Flower  of  Fiesole '  is  the  most  striking  example.  The  face  is  of  rare  beauty,  and  the 
refinement  and  delicacy  of  touch  shown  in  its  finish  are  winning,  and  will  be  remem- 
bered with  pleasure  long  after  this  exhibition  closes."  —  Art  Journal,  May,  1875. 

"Mr.  Gray  is  not  always  equal,  and  his  pictures  often  remind  one  too  strongly  of  the 
school  that  has  influenced  his  style.  But  his  '  Apple  of  Discord '  is,  perhaps,  in  drawing, 
in  purity  of  tone,  and  in  the  luminous  quality  of  flesh- tints,  unequaled  in  American  art, 
and  unsurpassed  by  any  recent  work  of  its  kind  in  any  country."  —  Prof.  Weir's 
Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

"  Classical  subjects  were  favorites  with  Mr  Gray,  and  the  coloring  of  the  old  Venetian 
masters,  especially  of  Titian,  was  his  study,  his  passionate  love.  ....  History  will  cer- 
tainly assign  to  him  a  permanent  and  most  honorable  place  among  the  earlier  American 
painters.  It  will  perhaps  be  said  of  him  that  although  his  persistent  study  of  the  old 
Italian  masters  made  him  less  original  in  subject  and  in  treatment  than  otherwise  he 
might  have  been,  yet  much  of  his  work  was  in  the  highest  degree  spontaneous  and 
alive  ;  that  his  insight  into  character  was  keen,  his  feeling  for  effect  fine,  his  mastery 
of  technique  rare  ;  and  that  his  art  brought  him  its  best  gift,  —  the  fame  which  is  the 
sympathy  of  kindred  spirits."  — New  York  Evening  Post,  November  13,  1877. 

Greatorex,  Eliza,  A.  N.  A.  (Am.)  Born  in  Ireland,  1820. 
Came  to  America  in  1836.  Studied  art  under  Witherspoon  and 
James  and  William  Hart  in  New  York,  under  Lambinet  in  Paris,  and 
at  the  Pinakothek  in  Munich.  In  1857  she  visited  England,  in  1861 
Paris,  and  Germany  and  Italy  in  1870.  She  spent  one  summer  in 
Nuremberg,  and  the  summer  of  1871  in  Ober  Ammergau.  In  1872 
she  returned  to  New  York,  and  spent  the  following  summer  in  Colo- 
rado.   She  went  with  her  daughters  to  Paris  in  the  spring  of  1878. 

In  1869  Mrs.  Greatorex  was  elected  Associate  of  the  National 
Academy,  New  York,  the  first  woman  who  received  that  recognition. 
She  is  the  only  lady  who  is  a  member  of  the  Artists'  Fund  Society  of 
New  York. 

Among  Mrs.  Greatorex's  more  important  works  are,  "Blooming- 
dale,"  in  oil  (belonging  to  Eobert  Hoe)  ;  "Chateau  of  Madame Cliffe" 
(belonging  to  Dykeman  Van  Doren)  ;  several  pen-and-ink  drawings 
in  the  collection  of  Charlotte  Cushman  ;  "  Landscape,  Amsterdam  "  ; 
"  Old  St.  Paul's  "  ;  "  Bloomingdale  Church,  painted  on  a  Panel  taken 
from  the  North  Dutch  Church,  Fulton  Street,"  and  "St.  Paul's 
Church "  and  "The  North  Dutch  Church,"  each  painted  on  panels 
taken  from  these  churches  (N.  A.,  1876). 

Mrs.  Greatorex  has  also  illustrated  with  etchings,  "  The  Homes  of 
Ober  Ammergau,"  published  in  Munich  in  1871  ;  "  Summer  Eteh- 
14 


314     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ings  in  Colorado,"  published  in  1874  ;  and  "  Old  New  York  from  the 
Battery  to  Bloomingdale,"  published  in  1875.  Eighteen  of  her  pen- 
drawings  illustrative  of  "  Old  New  York "  were  at  the  Centennial 
Exhibition  of  1876. 

Greatorex,  Kate  and  Eleanor.  {Am.)  Daughters  of  Eliza 
Greatorex,  who  has  been  their  teacher.  Miss  Kate  Greatorex  sent  to 
the  National  Academy  in  1875,  "The  Last  Bit  of  Autumn"  ;  in  1876, 
"  Goethe's  Fountain,  Frankfort " ;  and  in  1877,  panels  with  "  Thistles  " 
and  "Corn."  Miss  E.  Greatorex  exhibited,  in  1876,  "From  Yuba's 
Kitchen,  Ober  Ammergau,"  and  has  turned  her  attention  particularly 
to  decorations  of  china,  etc. 

Oreenough,  Horatio.  (Am.)  Born  in  Boston  (1805-1852). 
Displayed  a  marked  taste  for  sculpture  as  a  youth.  Entered  Harvard 
College  in  1821  ;  and  goiug  to  Europe  in  1824,  he  studied  for  some 
time  in  Paris  and  Home,  finally  settling  in  Florence,  where  he  lived 
and  worked  for  many  years.  He  returned  to  America  in  1851.  His 
statue  of  Washington  in  the  National  Capitol,  and  his  group  called 
"  The  Kescue  "  in  the  same  building,  are  among  the  better  known  of 
his  works.  Among  others  may  be  mentioned,  "  Medora,"  "  Guardian 
Angel  and  Child,"  "  Chanting  Cherubs,"  and  busts  of  Fenimore 
Cooper,  Lafayette,  Francis  Alexander,  John  Q.  Adams,  and  many 
others.  "  The  Chanting  Cherubs,"  executed  for  Cooper,  is  said  to 
have  been  the  first  original  piece  of  marble  sculpture  cut  by  an 
American. 

"  I  regard  Greenough's  '  Washington '  as  one  of  the  greatest  works  of  sculpture  of 
modern  times.  I  do  not  know  the  work  which  can  justly  be  preferred  to  it,  whether  we 
consider  the  purity  of  the  taste,  the  loftiness  of  the  conception,  the  truth  of  the  charac- 
ter, or,  what  we  must  own  we  feel  less  able  to  judge  of,  the  accuracy  of  an  anatomical 
study  and  mechanical  skill."  —  Edward  Everett,  Italian  Letter,  1841. 

Greenough,  Richard  S.  {Am.)  He  is  a  younger  brother  of 
Horatio  Greenough,  and  practiced  his  profession  as  a  sculptor  in  Paris 
for  some  time,  meeting  with  much  success  in  his  portrait  busts.  After 
living  several  years  in  Newport,  R.  I.,  he  went  again  to  Europe  in 
1874,  where  he  still  remains.  He  is  the  author  of  the  statue  of  Frank- 
lin in  the  City  Hall  Square  of  Boston,  and  his  "  Boy  and  Eagle  "  are 
in  the  Boston  Athenaeum.  His  bust  of  Shakspere,  an  ideal  work 
founded  on  the  Chandos  portrait,  has  been  highly  praised. 

Greux,  Gustave-Marie.  {Fr.)  Born  at  Paris.  Medals  for  etch- 
ing in  1873  and  1876.  Pupil  of  Gleyre.  This  artist  sent  a  painting 
to  the  Salon  in  1859,  which  afterwards  took  a  medal  at  Besancon. 
His  first  exhibited  etching  was  in  1861,  after  Rousseau,  called 
11  Storks  taking  a  Siesta."  His  "  Screen  of  Saint-l^tienne-du-Mont " 
received  honorable  mention  in  Paris  and  a  medal  at  Vienna.  Greux 
has  contributed  to  the  "  Gazette  des  Beaux- Arts."  At  the  Salon  of 
1878  he  exhibited  four  engravings,  three  being  for  "  L'Art,"  and  one, 
"  The  Setting  Sun,"  after  Claude  Lorraine,  for  the  Society  of  Engrav- 
ing at  Vienna. 


ARTISTS  OF  THE  NINETEENTH  CENTURY-  315 


Grigoletti,  Michel- Ange.  (Ital.)  Born  at  Pordenone,  1801.  Mem- 
ber of  the  Academy  of  Venice,  and  correspondent  of  several  foreign 
societies.  Studied  five  years  at  the  Academy  at  Venice.  His  first 
work,  "Jupiter  caressing  Love"  (1825),  was  bought  by  the  Prince 
of  Lucca.  In  1828  he  was  commissioned  to  decorate  the  church  of 
Saint- Antoine  at  Trieste.  He  visited  Florence  and  Rome,  and  settled 
at  Venice.  Many  of  his  important  works  were  placed  by  the  Austrian 
government  in  the  Gallery  at  Vienna,  and  others  were  purchased  by 
Italian  and  English  amateurs.  He  has  painted  many  portraits. 
Among  his  works  are,  "  The  Last  Interview  of  the  Two  Foscari," 
"  Francesca  da  Rimini,"  "  Odalisks  at  the  Bath,"  "  Jacob  receiving 
Joseph,"  "  Saint  Paul  preaching  at  Ephesus,"  and  the  "  Prodigal  Son." 

Griswold,  C.  C,  N.  A.  {Am.)  Born  in  Ohio,  1834.  Showed  a 
taste  for  art  at  an  early  age,  and  studied  wood-engraving  in  Cincin- 
nati. In  1851  he  removed  to  New  York,  where  he  first  used  the  brush 
with  success.  His  first  picture  was  exhibited  at  the  National  Acad- 
emy in  1857 ;  he  was  elected  Associate  in  1866,  and  Academician  the 
following  year,  and  was  one  of  the  original  members  of  the  Artists' 
Fund  Society  in  1859.  Among  his  earlier  works  are,  "Autumnal 
Scene,"  "Last  of  the  Ice,"  "December"  (1864);  "Winter  Morning" 
(1865)  ;  and  "An  August  Day,  Newport"  (1866).  In  1869  he  sent 
to  the  National  Academy,  "Early  Spring"  ;  in  1870,  "  Seaside  Land- 
scape "  and  "  Purgatory  Point,  Newport "  ;  in  1874,  "  Lago  de  Nemi." 
He  has  been  a  resident  of  Rome  for  some  years.  At  the  Mechanics' 
Fair,  Boston,  1878,  was  exhibited  his  "  Ponte  Molle  across  the  Tiber," 
belonging  to  E.  B.  Haskell. 

Groiseilliez,  Marcellin  de.  (Fr.)  Born  at  Paris.  Medal  in 
1874.  Pupil  of  Boyer  and  Pasini.  Landscape-painter.  At  the  Salon 
of  1878  he  exhibited  "  Mantes,  —  Morning  "  and  "A  View  of  Amelie- 
les-Bains  (Pyrenees-Orientales)."    [Died,  1880.] 

Gronland,  Theude.  (Dane.)  Born  at  Altona  (1817-1876). 
Member  of  the  Academy  of  Copenhagen.  Two  medals  at  Paris. 
Studied  at  the  Academy  of  Copenhagen,  and  passed  more  than  thirty 
years  in  Italy,  England,  and  Paris.  In  1868  he  settled  in  Berlin,  and 
received  many  pupils  in  his  studio.  He  still  continued  to  travel  for 
the  purposes  of  study.  He  painted  landscape  and  still-life,  and  was 
called  one  of  the  best  fruit-painters  in  Europe.  He  exhibited  at  the 
Salons  at  Paris,  for  several  years,  fruit  and  flower  pieces,  and  there  is 
a  fine  fruit-piece  by  him  in  the  National  Gallery  at  Berlin. 

Gros,  Lucien-Alphonse.  (Fr.)  Born  at  Wesserling.  Medals  in 
1867  and  '76.  Pupil  of  Meissonier.  At  the  Salon  of  1876  he  exhibited 
"  Une  seance  de  portraits  "  ;  in  1875,  "  The  Importants  conspiring 
against  Cardinal  Mazarin,"  "A  Smoker,"  and  "House  of  a  Peasant 
near  Nice  "  ;  in  1878,.  "  Le  guet-apens  "  and  "  The  Critic." 

Gross,  Richard.  (Am.)  Born  at  Munich,  Bavaria,  in  1848,  but 
taken  to  America  as  a  child.    He  began  his  art  studies  in  the  schools 


316     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  National  Academy,  New  York,  studying  also  for  some  years 
in  Munich,  and  receiving  the  bronze  medal  of  honor  of  the  Royal 
Academy  of  Bavaria.  He  returned  to  New  York,  his  professional 
home,  in  1877.  Among  his  more  important  pictures  are  a  portrait 
of  William  Chambers,  "  Old  Nuremberg,"  "  The  Savant/'  and  "  The 
Lady  of  Shalott." 

Groux,  Charles  Cornelius  Auguste.  {Belgian.)  Born  at  Co- 
mines  (1825  -  1870).  Member  of  the  Academy  at  Brussels.  Studied 
under  Navez.  His  subjects  are  scenes  from  every-day  life,  such  as, 
"  The  Last  Adieu,'  "  The  Sick  Infant,"  "  Winter  Scene  in  Brussels," 
a  very  popular  work  in  that  city.  During  the  later  years  of  his  life 
he  was  occupied  in  designs  for  the  decoration  of  the  Market  Hall  at 
Ypres. 

Grundmann,  Otto.  (Ger.)  Born  in  Dresden,  1848.  Two  medals 
at  Dresden.  Director  of  the  Art  School  of  the  Art  Museum  of  Bos- 
ton. Studied  at  the  Academies  of  Dresden  and  Antwerp,  and  at  Paris, 
also  under  Professor  Hiibner  and  Van  Lerius.  He  established  him- 
self in  Diisseldorf,  where  he  remained  until  1876,  when  he  accepted 
his  appointment  in  Boston.  He  has  exhibited  his  works  in  various 
public  exhibitions  in  Germany  and  Belgium.  He  has  painted  many 
portraits,  and  genre  pictures  of  interiors  with  figures,  taken  from  the 
life  of  the  fishermen  in  the  islands  of  the  Zuyder  Zee.  Among  his 
other  works  may  be  mentioned  "  The  Lorelei "  and  a  scene  from 
Schiller's  drama  of  "  Kabale  und  Liebe." 

Gruner,  Guillaume-Henri-Louis.  (Ger.)  Born  at  Dresden, 
1801.  This  celebrated  engraver  studied  in  various  European  cities 
under  such  masters  as  Klinger,  Kriiger,  and  Fuhrich.  He  traveled 
much  on  the  Continent  (in  Spain),  and  in  England.  Among  his 
principal  works  are  the  "  Spanish  Shepherd,"  after  Velasquez,  several 
Madonnas,  after  Raphael,  and  the  cartoons  of  that  master  at  Hampton 
Court,  which  last  he  engraved  for  the  Museum  at  Berlin.  At  one 
time,  owing  to  an  affection  of  his  sight,  he  devoted  himself  to  decora- 
tive painting,  and  executed  some  frescos  in  the  garden  pavilion  at 
Buckingham  Palace,  of  which  Mrs.  Jameson  wrote  a  description. 
Later  he  so  recovered  as  to  resume  engraving,  and  devoted  himself 
principally  to  the  reproduction  of  Raphael's  works.    [Died,  1882.] 

Grunewald,  Gustav.  (Ger.)  Born  at  Gnadau,  1805.  Studied 
at  the  Dresden  Academy,  and  worked  for  a  time  in  a  porcelain  man- 
ufactory. He  returned  to  Gnadau,  and  afterwards  came  to  America. 
In  the  National  Gallery  at  Berlin  is  his  "  Evening  Landscape." 

Gruyere,  Theodore-Charles.  (Fr.)  Born  at  Paris,  1813.  Mem- 
ber of  the  Institute  since  1875.  Chevalier  of  the  Legion  of  Honor. 
Pupil  of  Ramey  and  l'^cole  des  Beaux- Arts,  where  he  took  the  grand 
prize  for  sculpture  in  1839.  His  "Chactas"  and  "  Mutius  Scevola" 
(1846)  were  purchased  for  the  Luxembourg.  His  statues  of  "  St. 
Basile"  and  "Ezekiel"  are  in  the  church  of  Saint- Augustin  at  Paris. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  317 


He  executed  some  bas-reliefs  for  the  New  Opera,  and  other  works  of 
his  are  in  various  public  places  in  Paris,  such  as  the  "  City  of  Laon  " 
and  the  "  City  of  Arras,"  for  the  facade  of  the  station  of  the  Northern 
Railway,  etc.  The  smaller  works  of  this  artist  are  very  numerous. 
Many  of  his  later  exhibitions  at  the  Salons  have  been  portrait  busts. 
In  1869  he  exhibited  a  group,  called  "  Maternal  Tenderness,"  and  in 
1868  several  bas-reliefs  for  the  church  of  Saint-Thomas  Aquinas  and 
the  New  Opera. 

Guarnerio,  Pietro.  (Ital.)  Of  Milan.  At  Philadelphia  he  exhib- 
ited "  The  White  Rose,"  "  The  Orphan,"  "  Raphael  in  his  Youth," 
"  Vanity,"  "  Aruns  in  the  Act  of  Shooting  the  Virgin  Camilla,"  and 
"  George  Washington  "  (executed  for  the  Centennial),  and  received  a 
medal.  This  sculptor  exhibited  at  the  Royal  Academy,  London,  in 
1872,  "  Evening."  "  The  Forced  Prayer,"  now  in  the  Corcoran  Gal- 
lery, Washington,  was  also  at  the  Centennial  Exposition.  The  cat- 
alogue says  :  "  Though  verging  upon  caricature,  the  sculptor  has 
made  it  a  general  favorite  by  skillfully  relieving  its  serio-comic 
suppressed  grief  by  the  winning  sweetness  of  the  child's  form  and 
folded  hands."  Three  of  the  above  works  were  also  at  the  Paris  Ex- 
position of  1878. 

Guay,  Gabriel.  (Fr.)  Born  at  Paris.  Pupil  of  Gerome  and 
Lequien.  Medal  of  the  third  class  at  the  Salon  of  1878,  where  he 
exhibited  "The  Levite  of  Ephraim."  In  1877  he  exhibited  "  In  the 
Absence  of  the  Master  "  and  "  Latona  and  the  Peasants "  ;  in  1876, 
"  In  Carnival "  and  "  Incorruptible." 

Gude,  Hans  Frederic.  (Norivegian.)  Born  at  Christiana.  Chev- 
alier of  the  Orders  of  St.  Olaf  of  Norway,  the  Lion  of  Zahringen  of 
Bade,  of  the  Red  Eagle  of  Prussia,  of  Francis  Joseph  of  Austria,  etc. 
Member  of  the  Academies  of  Stockholm,  Copenhagen,  Vienna,  Berlin, 
Amsterdam,  Rotterdam,  etc.  He  has  also  received  many  medals  in 
several  countries  of  Europe,  and  also  at  Philadelphia  in  1876.  Gude 
is  often  called  the  best  landscape-painter  of  his  country.  He  studied 
at  Diisseldorf.  The  figures  in  his  pictures  were  sometimes  executed 
by  Tidemand.  His  works  have  been  several  times  exhibited  at  the 
Paris  Salons,  and  were  seen  at  Vienna  in  1873.  At  the  Wolfe  sale, 
New  York,  1863,  his  "Early  Morning  in  the  Mountains  of  Norway" 
brought  $950.  At  the  Paris  Exposition,  1878,  he  exhibited  "A 
Scotch  Landscape." 

"  People  have  said  that  this  painter's  art  is  like  a  growth  in  Nature,  gradual,  calm,  con- 
stant ;  it  certainly  has  ever  been  near  to  Nature  when,  in  her  tenderest  moods,  it  infuses 
beauty  into  grandeur,  and  throws  gentleness  over  forms  rugged  and  defiant.  Gude's 
lake-scenes  are  lovely ;  and  a  beech-wood  by  a  mountain  stream,  in  the  Gallery  at 
Christiana,  displays  knowledge  which  can  come  only  of  German  training."  — J.  Beav- 
ington  Atkinson,  Art  Tour  io  Northern  Capitals  of  Europe. 

Gudin,  Jean-Antoine-Theodore.  (Fr.)  Born  at  Paris,  1802. 
Commander  of  the  Legion  of  Honor.    He  has  also  been  decorated  by 


318     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


numerous  foreign  orders.  Pupil  of  Girodet-Trioson.  He  became 
later  a  disciple  of  the  romantic  school,  and  placed  himself  by  the  side 
of  Gericault  and  Delacroix.  He  has  painted  exclusively  landscanes 
and  marine  subjects.  His  "  Hurricane  of  Wind  in  the  Roadsteaof  of 
Alger,  January  7,  1831"  (1835)  and  "The  Burning  of  the  Kent  in 
the  Bay  of  Biscay  "  (Salon  of  1827)  are  at  the  Luxembourg  ;  more 
than  twenty-four  of  his  marines  are  at  the  Gallery  of  Versailles.  At 
the  Salon  of  1872  he  exhibited  "The  Steamship  Lafayette  in  the 
Night  of  August  18,  1871,"  a  pastel  belonging  to  Mr.  D.  R.  At  the 
Exposition  of  1867  were  "  The  Arrival  of  the  Emperor  at  Genoa  " 
and  "  The  Arrival  of  Queen  Victoria  at  Cherbourg."  Gudin  married 
a  Scotch  lady,  and  is  well  known  in  the  Parisian  world  for  the  lit- 
erary and  artistic  reunions  given  at  his  hotel.  At  the  Museum  of 
Leipsic  are  two  of  his  marine  pictures.    [Died,  1880.] 

Gu^rard,  Eugfene  von.  {Austrian.)  Born  at  Vienna,  1814.  Pupil 
of  his  father.  This  painter  has  traveled  much.  He  passed  six 
years  in  Sicily,  and  now  lives  in  Australia,  from  which  place  he  sends 
to  Europe  numerous  landscapes.  His  pictures  have  been  rapidly  sold 
to  amateurs  for  some  years.  Numbers  are  in  America.  Between  the 
time  of  his  residence  in  Italy  and  his  departure  for  Australia  he 
studied  at  the  Academy  of  Dusseldorf  under  Schirmer  and  W.  von 
Schadow. 

Guffens,  Godefroid.  {Belgian.)  Born  at  Hasselt,  1803.  A  medal 
en  vermeil  at  Brussels  in  1848.  Chevalier  of  the  first  class  of  the 
Order  of  the  Red  Eagle  of  Prussia,  of  the  Order  of  Leopold  of  Bel- 
gium, of  the  White  Falcon,  and  of  various  other  orders.  Pupil  of 
Nicaise  de  Keyser.  He  made  his  debut  at  Brussels  in  1824,  and  set- 
tled at  Antwerp.  He  painted  historical  subjects  and  portraits.  In 
the  church  of  Saint-George  at  Antwerp  there  are  numerous  mural 
paintings  by  Guffens.  Among  his  easel-pictures  are  "  Lucretia," 
"  Julia  and  her  Mother,"  "  Blanche  of  Pompeii,"  etc.  In  1858,  in 
company  with  J.  Swerts,  this  painter  published  a  volume  called 
"  Souvenirs  d'un  voyage  artistique  en  Allemagne." 

Guillaume,  Jean-Baptiste-Claude-Eugene.  {Fr.)  Born  at 
Montbard,  1822.  Member  of  the  Institute.  Commander  of  the 
Legion  of  Honor.  Director  of  l'ltcole  des  Beaux- Arts  in  1864. 
Member  of  the  Imperial  Council  of  Public  Instruction  in  1866. 
After  studying  at  the  college  of  Dijon,  he  went  to  Paris,  where  he 
entered  the  atelier  of  Pradier,  and  took  at  l'Jjlcole  des  Beaux- Arts  the 
grand  prix  de  Rome  in  1845.  His  "Anacreon,"  figure  in  marble, 
(1852),  "The  Gracchi,"  group  in  bronze  (1853),  and  "Monseigneur 
Darboy,"  bust,  in  marble  (1875),  are  at  the  Luxembourg.  At  the 
Salon  of  1877  he  exhibited  the  plaster  cast  of  a  fine  group  called 
"Roman  Marriage"  and  a  bust  of  Ingres  in  plaster  ;  in  1876,  "  Un 
terme  "  and  a  bust,  both  in  plaster  ;  in  1873,  "  The  Source  of  Poesy," 
statue,  plaster  ;  in  1870,  "  Napoleon  Bonaparte,  Lieutenant  of  Artil- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  319 


lery,"  statue,  plaster  ;  in  1869,  portrait  bust  of  Dr.  Michau,  marble  ; 
etc.  Guillaume  executed  bas-reliefs  of  the  lives  of  St.  Clothilde 
and  St.  Valerie  for  the  choir  of  the  church  of  Saint-Clothilde,  some 
caryatides  and  other  sculptures  for  the  Pavilion  Turgot,  and  a  statue 
of  L'Hopital  at  the  Louvre.  He  made  the  monument  to  Colbert  at 
Eheims,  and  eight  busts  of  Napoleon  L,  representing  him  at  various 
epochs  of  his  life  ;  these  were  all  purchased  by  Prince  Napoleon,  and 
were  at  the  Exposition  Universelle  of  1867.  Guillaume  was  Presi- 
dent of  the  section  of  Sculpture  at  the  Exposition  of  1878. 

"  Our  readers  are  not  ignorant  of  the  truth  that  Guillaume  is  to-day  the  master  par 
excellence  of  the  French  school  of  sculpture,  which  is  the  first,  or,  better,  the  only  school 
of  sculpture  which  still  exists  in  Europe.  Guillaume  is  not,  however,  properly  speak- 
ing, a  genius  ;  he  is  a  man  of  eminent  mind,  of  profound  sense,  of  well-regulated  imagi- 
nation, of  an  exquisite  delicacy  of  sentiment,  which  he  presents  with  rare  firmness  of 
execution.  Many  things  concur  to  make  him  a  master  ;  the  principal  one  is,  that  in  his 
eyes  art  is  neither  a  manual  trade  nor  a  debauch  of  the  imagination.  For  him,  com- 
position is  not  independent  of  thought  ;  art,  in  a  word,  is  in  his  eyes  an  exact  science,  at 
the  same  time  that  it  is  a  sort  of  religion.  Guillaume  is  not  one  of  those  who  lavish  and 
profane  their  talent  in  a  vain  display  of  sterile  fruitfulness.  He  often  and  willingly 
remains  silent ;  he  never  speaks  without  having  long  and  profoundly  meditated  on  what 
he  is  to  say.  ....  Guillaume — and  it  is  his  glory — has  a  horror  of  charlatanism  ;  he 
expresses  his  thought  only  by  simple  and  true  means."  — Ernest  Duvergier  de  Hatj- 
ranne,  Revue  des  Deux  Mondes. 

Guillemet,  Jean-Baptiste-Antoine.  (Fr.)  Born  at  Chantilly. 
Medals  in  1874  and  '76.  Landscape-painter.  His  "  Bercy  in  De- 
cember "  (1874)  is  in  the  Luxembourg.  At  the  Salon  of  1878  he  ex- 
hibited "  The  Beach  at  Villers." 

Guillemin,  Alexandre-Marie.  (Fr.)  Born  at  Paris,  1817.  Cheva- 
lier of  the  Legion  of  Honor.  Studied  under  Gros.  Paints  genre  sub- 
jects. In  1877  he  exhibited  at  the  Paris  Salon,  "  Los  Pordioseros," 
a  souvenir  of  Upper  Navarre,  and  "  La  Maraposa,"  Aragon  ;  in  1869, 
"  La  Trilla,"  souvenir  of  Aragon,  and  "  The  Atelier  of  a  Sculptor  "  ;  in 
1864,  "  Sunday  Morning"  ;  etc.  At  the  Walters  Gallery,  Baltimore, 
is  his  "  Print- Vender."   [Died,  1880.] 

Guillon,  Adolphe  Irenee.  (Fr.)  Born  at  Paris.  Medal  in  1877. 
Pupil  of  Gleyre  and  J.  Noel.  His  picture  at  the  Salon  of  1877  was 
"  October  at  Vezelay  "  ;  in  1878,  "  Evening  "  and  "  Washerwomen  on 
the  Banks  of  the  Cure  (Yonne)." 

Gunkel,  Friedrich.  (Ger.)  Born  at  Cassel  (1820-1876).  He 
first  studied  in  the  Academy  of  Cassel,  and  then  in  that  of  Berlin, 
where  he  came  under  the  influence  of  Cornelius,  with  whom  he 
worked  in  the  Museum.  In  1847  he  went  to  Borne.  There  he  re- 
ceived some  commissions,  through  the  influence  of  timil  Braun,  from 
the  Archaeological  Society,  which  helped  to  support  him,  so  that  he 
could  pursue  his  own  studies.  Among  his  works  are  an  altar-piece, 
"  The  Resurrection,"  painted  for  the  Vice-Governor  of  Poland,  and 
"  The  Battle-Field  of  Hermann,"  for  the  Maximilianeum  at  Munich. 
This  is  his  chef-d'oeuvre ;  when  he  left  it  he  expected  to  add  his  last 


320     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


touches  after  it  was  in  its  place,  but  the  long  time  which  elapsed 
before  this  was  accomplished  prevented  his  doing  so. 

Gunther,  Otto  Edmond.  (Ger.)  Born  at  Halle,  1838.  Profes- 
sor at  the  Academy  of  Konigsberg.  Small  gold  medal  at  Berlin,  1876. 
Studied  at  the  Diisseldorf  Academy,  and  at  the  Art  School  of  Weimar. 
A  disciple  of  Preller  and  Von  Bamberg.  He  has  traveled  for  pur- 
poses of  study.  During  the  Franco-German  war  he  was  at  Ver- 
sailles. Gunther  has  executed  some  decorative  works  in  Cologne  and 
Leipsic.  In  the  Berlin  National  Gallery  is  his  picture  of  the  "  Wid- 
ower." At  Berlin,  in  1871,  he  exhibited  "  A  Wedding  Procession  in 
Thuringia"  ;  at  Berlin,  1876,  "  A  Thuringian  Family  Scene,"  "  Grand- 
papa, a  Kiss  S "  and  "  Disputing  Theologians."     [Died,  1884.] 

Gurlitt,  Louis.  (Dane.)  Born  at  Altona,  1812.  Member  of  the 
Academies  of  Copenhagen  and  Madrid.  Studied  at  Copenhagen  and 
Hamburg,  and  traveled  in  Denmark,  Norway,  and  Sweden.  Went 
to  Munich  and  to  Italy,  and  returned  to  Copenhagen,  but  settled  in 
Vienna.  Many  of  his  landscapes  are  in  the  Gallery  at  Copenhagen  ; 
"  A  View  in  the  Albanian  Mountains  "  is  in  the  National  Gallery, 
Berlin.  "  The  Lake  of  Como  "  was  purchased  by  the  King  of  Hano- 
ver. Some  of  his  works  have  been  engraved.  At  Berlin,  in  1876> 
he  exhibited  "  A  Portuguese  View  "  and  "  Plohne  in  Holstein." 

Gussow,  Carl.  (Ger.)  Born,  1844.  Professor  and  member  of  the 
Boyal  Academy  of  Berlin.  Pupil  of  the  Academy  of  Saxe-Weimar, 
where  he  was  made  a  professor  when  twenty-six  years  old.  Subse- 
quently he  was  made  Professor  of  Figure-Painting  at  the  Ducal  Acad- 
emy at  Baden.  Having  taken  the  gold  medal  at  Berlin,  he  was 
appointed  to  his  position  there  in  1876,  where  he  is  associated  with 
Von  Werner  and  Knaus.  His  "  Artilleryman's  Story  of  the  Battle  " 
was  purchased  by  the  Belgian  government,  and  is  in  the  Museum  at 
Ghent.  At  the  London  Academy  of  1878  he  exhibited  "  The  Fruit- 
Seller,"  and  at  the  Paris  Exposition,  same  year,  "  A  Portrait  of  an  Old 
Lady,"  "  Still-Life,"  and  "  The  Studio."  In  1877  Gussow  took  the 
gold  medal  at  the  Amsterdam  International  Exhibition  with  his  pic- 
ture called  "  The  Widow."  Among  his  later  works  are,  "  The  Wel- 
come Home,"  "  The  Lovers,"  and  "  The  Old  Man's  Treasure." 

"  Professor  Gussow  ranks  high  in  portraiture  ;  he  is  also  successful  sometimes  in 
genre.  His  treatment  and  rendering  of  character  are  often  just  and,  in  some  respects, 
admirable.  .  But  in  almost  all  his  faces  there  is  a  certain  spot  — a  gloss  — where  the 
light  strikes  on  the  countenance,  which  he  evidently  considers  a  great  beauty,  for  he 
contrives  to  bring  it  into  every  painting  of  his  we  have  seen.  It  is  certainly  peculiar  to 
his  works,  and  may,  perhaps,  be  sometimes  a  beauty  in  nature  ;  but  as  he  represents  it 
with  a  dab  of  crude  white,  it  enables  the  observer  to  realize,  as  never  before,  the  question- 
able advantages  of  the  pearl  powder  so  universally  found  on  the  toilet-table  of  the  Berlin 
ladies  of  the  nineteenth  century."  —  S.  G.  W.  Benjamin,  Contemporary  Art  in  Europe. 

Guthers,  Carl.  (Am.)  Born  in  Switzerland  in  1844.-  Taken 
to  America  by  his  parents  in  1851.  His  father  settled  in  Cincinnati, 
Ohio,  and  introduced  terra-cotta  works  as  objects  of  art  to  this  coun- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  321 


try.  The  son  in  his  father's  studio  began  his  career  as  an  artist  by 
modeling  in  clay  ;  later,  he  studied  under  a  portrait-painter  in  Mem- 
phis, Tenn.,  going  to  Paris  in  1868.  Here  he  was  a  pupil  of  Cabas- 
son  and  of  Pils  and  of  the  Academie  des  Beaux- Arts.  At  the  breaking 
out  of  the  Franco-Prussian  war  he  went  to  Belgium,  studying  in 
Brussels  and  Antwerp  under  Stallaert  and  Robert.  He  settled  in 
Rome  in  1871,  executing  in  that  city  his  first  important  work,  "The 
Awakening  of  Spring,"  on  the  strength  of  which  he  was  elected  in 
1872  a  member  of  the  Cercle  Artistique  Internationale.  After  spending 
some  time  in  Munich  he  returned  to  Memphis  in  1873,  painting  por- 
traits and  figure-pieces  in  oil  and  water-colors.  In  1874  he  removed  to 
St.  Louis,  Mo.  Since  1875  he  has  been  connected  with  the  Art  De- 
partment of  the  Washington  University,  and  has  been  instrumental 
in  the  organization  of  an  Academy  of  Fine  Arts  in  that  city. 

To  the  Centennial  Exhibition  of  Philadelphia  in  1876  he  sent  his 
"  Ecce  Homo  "  and  "  Awakening  of  Spring,"  receiving  for  the  latter 
work  a  medal  and  diploma.  Among  his  other  works  are,  "  Evening 
on  the  Nile  "  (belonging  to  Gen.  Colton  Greene),  "  Sappho,"  "  L'Ame- 
ricaine,"  and  portraits  of  Governors  Ramey  and  Austin  of  Minne- 
sota, in  the  capitol  of  that  State. 

"  la  the  picture  he  has  made  [a  portrait  of  a  lady  by  Carl  Guthers]  he  has  certainly 
shown  that  independence  which  characterizes  genius.  So  far  as  we  know  he  is  the  only 
artist  who  has  dared  to  choose  for  his  study  the  typical  American  young  lady,  surrounded 
by  the  objects  that  denote  the  culture  and  refinement  of  her  home,  and  treated  with  the 
force  that  only  genius  knows  how  to  wield.  The  painting  is  of  the  Paul  Veronese 
school,  and  shows  a  masterly  knowledge  of  colors  and  their  effect."  —  St.  Louis  Journal, 
January  12,  1877. 

Guy,  Seymour  Joseph,  N.  A.  (Brit-Am.)  Born  in  England, 
1824,  studying  art  in  his  native  country  at  an  early  age.  In  1854  he 
moved  to  New  York,  painting  portraits  with  considerable  success, 
but  soon  turning  his  attention  to  the  production  of  genre  pictures,  in 
which  his  success  has  been  more  decided.  He  was  elected  Associate 
of  the  National  Academy  in  1861,  and  Academician  in  1865,  and 
was  one  of  the  original  members  of  the  American  Society  of  Painters 
in  Water-Colors  in  1866.  In  1868  he  exhibited  at  the  National 
Academy,  "  The  Good  Sister  "  (belonging  to  Marshall  0.  Roberts) ; 
in  1869,  "  After  the  Shower  "  (belonging  to  A.  H.  Ritchie),  "  More 
Free  than  Welcome,"  and  his  portrait  of  the  late  C.  L.  Elliott,  N.  A.  ; 
in  1870,  "  The  Little  Stranger  "  (belonging  to  J.  H.  Sherwood),  and 
"  Playing  on  the  Jew's-Harp"  ;  in  1871,  "The  Street  Fire  "  ;  in  1874, 
"  Going  to  the  Opera  "  (family  portraits,  belonging  to  William  H.  Van- 
derbilt),  and  "  Fixing  for  School "  ;  in  1875,  "  The  Little  Orange-Girl " 
and  "  Studying  the  Gamut  "  (belonging  to  P.  Van  Valkenburg)  ;  in 
1876,  "Carnival  Time";  in  1877,  "Cash  on  Hand."  To  Paris,  in 
1878,  he  sent  his  portrait  of  Elliott,  "  Baby's  Bedtime,"  and  "  Learn- 
ing the  Gamut."  His  "  Supplication"  is  in  the  collection  of  J.  H. 
Sherwood  ;  his  "  Solitaire  "  belongs  to  J.  N  Falconer.    His  "  Trying 

14*  U 


322     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


on  Borrowed  Bobes,"  in  the  Johnston  collection,  was  sold  in  1876  for 
$  400.    Among  his  portraits  is  one  of  William  Scott  of  New  York. 

"  Gray  is  a  painter  of  considerable  merit  and  decided  progress  in  gem-e  art,  as.  witness 
Ms- '  Field  Day,'  '  Feeding  the  Ducks/  and  4  The  Picture-Book, 'in  the  collections  of  M.  O. 
Boberts."  —  Tvjckerman's  Bo&k  of  the  Artists. 

"  Mr.  Guy's  subjects  mostly  relate  to  scenes  and]  incidents  drawn  from  child-life,  and 
in  their  composition  and  treatment  he  has  no  superior  in  American  art  His  sty2e  is 
fresh  and  unconstrained,  and  is  marked  by  great  richness  of  coloring  and  delicacy  of 
finish.  ....  There  is  a  delicious  feeling  of  quiet  expressed  in  the  foreground  [of  the 
*  Orange-Girl  *]  which  is  not  disturbed  by  the  busy  hum  of  eommeree,  illustrated  in  the 
shipping  and  many  trucks,  which  are  strongly  felt  and  yet  pushed  off  iroto  the  misty 
background.  The  figure  with  its  sweet  face,  whieh  is  so  prettily  relieved  by  the  worsted 
©loud,  is  expressive  of  much  of  the  feeling  and  sentiment  which  is  apparent  in  nearly 
all  of  Mr.  Guy's  recent  work."  —  Art  Journal,  September,  1875. 

"Mr.  Guy  contributed  three  pictures,  *  Evening,'  *  Solitaire,*  and  *  Supplication/  all 
domestic  in  character.  His  pictures  are  painted  with  skill,  but  wer-«labs>rated  and 
wanting  in  distinction  of  texture.  They  are  too  studied,  and  consequently  often  lack 
spirit  and  life."  —  Prof.  Weir'S  Official  Mep&rt  &f  the  American  Cmtenmcsl  ExMbiim^  ©/ 
1876.  > 

"  Take,  for  instance,  a  figure-pfece  like  Mr.  Si  J.  Guy's  4  Love's  First  Labor,"  a  young 
woman  engaged  in  working  a  pair  of  slippers.  To  persons  acquainted  with  this  artist's 
methods,  it  is  unnecessary  to  say  that  the  extraordinary  minuteness  and  delicacy  of  de- 
tail in  this  picture  —  a  minuteness  and  delicacy  which  cordially  invite  the  magBbfying- 
glass,  and  which  make  the  scene  a  transcription  faithful  enough  to  satisfy  the  interest 
of  the  pre-Raphaelites  —  are  by  no  means  the  greatest  of  its;  excellences.*9 — N<sw  Y&rJs 
Evening  Post,  November  9,  1877. 

Gysis,  Nicolas.  (Greek.)  Studied  at  Munich,  where  at  the  Ex- 
position of  the  Piloty  school,  in  1871,  he  exhibited  "Judith  by  the 
Couch  of  Holofernes n  and  "  Hundevisitation  J>  (dogs  taken  to  an 
officer  for  licenses).  His  "Street  Scene  in  Smyrna  with  Poultry- 
Thieves"  is  a  mirthful  picture,  and  vivid  in  its  life-like  characteriza- 
tion. To  the  Paris  Exposition  of  1878  he  sent  "  Betrothal  in  Greece," 
"  An  Arab  Fete,"  "  L'Art  jouant,"  and  "  A  Negro/' 

"  His  art  life  and  methods  are  so  entirely  German,  that  lie  may  with  propriety  be  in- 
cluded among  the  artists  of  the  Munieh  school  His  color  seems  scarcely  inferior  to 
that  of  Decamps,  in  the  rendering  of  Oriental  scenes,  while  his  native  famiMarity  with 
them  has  given  him  remarkable  skill  in  catching  the  traits  of  Eastern  character."  — 
S.  G.  W.  Benjamik,  Contemporary  Art  in  Enrope. 

Haag,  Carl.  (Bavarian.)  Born  at  Erlangen,  1820.  Pupil  of 
Beindel  at  Niirnberg,  and  of  Cornelius  at  Munich.  He  traveled  in 
Belgium,  France,  Italy,  Egypt,  Syria,  and  England.  In  the  last  coun- 
try he  became  so  enamored  of  water-color  painting,  that  he  has 
devoted  himself  to  it  and  lives  in  London.  He  is  a  member  of  the 
Society  of  Painters  in  Water-Colors,  and  sends  works  to  its  annual 
exhibitions.  His  landscapes  with  figures  are  very  successful,  especially 
those  of  Italian  and  Tyrolese  scenery.  In  1876,  at  the  German 
Athenaeum  in  Mortimer  street,  London,  there  was  an  exhibition  of 
eighty-eight  studies,  sketches,  and  finished  works  by  Haag.  His  Ori- 
ental pictures  are  fine,  such  as,  "The  Swooping  Terror  of  the  Desert " 
(a  vulture  about  to  alight  on  a  traveler's  camel,  while  an  Arab 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  323 


watches  ready  to  kill  the  bird),  and  "  Danger  in  the  Desert "  (in  which 
the  wife  and  child  crouch  behind  a  camel  while  the  father  stands 
with  rifle  ready  for  two  hostile  horsemen  who  approach  with  spears) 
The  pictures  of  Haag  which  represent  the  architecture  of  the  East  are 
much  admired,  also  his  single  heads  or  figures,  such  as  "A  Sabine 
Woman,"  "  A  Nubian  Youngster,"  etc.  At  a  sale  in  London  in  1876 
"  The  Bedouin's  Devotion ,;  by  Haag  sold  for  £  735  (water-color).  Haag 
was  appointed  Court-Painter  to  the  reigning  Duke  of  Saxe-Coburg 
and  Gotha  some  years  since.  His  "  Evening  Scene,  Balmoral "  be- 
longs to  Queen  Victoria,  and  his  "  Head  of  an  American  "  was  pur- 
chased by  Prince  Albert.  His  "  Tyrolese  Huntsmen,"  "  Danger  in  the 
Desert,"  and  "  The  Koran  Reader"  were  at  the  Paris  Exposition  of  1878. 

Haanen,  Remi  A.  van.  {Dutch.)  Born  in  Osterhout,  1812. 
Member  of  the  Academies  of  St.  Petersburg,  Amsterdam,  Milan,  and 
Venice.  Honorary  Member  of  the  Art  Society  in  Utrecht.  Painted 
in  Hilversum,  and  then  went  to  Vienna,  where  he  settled.  He  has 
traveled  much  in  nearly  all  European  countries.  Landscape-painter, 
and  very  fond  of  moonlight  effects.  Haanen  has  given  considerable 
attention  to  etching,  and  has  reproduced  thirty  or  forty  of  his  own 
pictures  in  this  manner.  At  the  Berlin  National  Gallery  is  "  A  Win- 
ter Landscape  "  by  Haanen.  At  the  Paris  Exposition  of  1878  he 
exhibited  "A  Study  of  a  Forest,  —  Winter." 

Haden,  Francis  Seymour.  (Brit)  Born  in  London,  1818.  Son 
of  a  distinguished  English  physician,  he  was  brought  up  to  the  same 
profession.  After  graduating  at  the  University  of  London  and  study- 
ing in  Paris,  he  practiced  medicine  with  success  in  his  native  city. 
Having  a  strong  predilection  for  art,  he  turned  his  attention  to  etching 
about  1859,  his  work  when  exhibited  receiving  high  praise  from 
English  and  continental  critics.  Among  his  earlier  plates,  besides 
portraits,  are,  "  Thames  Fishermen,"  "  Egham  Church,"  "  Fulham," 
"  Studies  in  Kensington  Garden,"  "  The  Thames  at  Old  Chelsea," 
"  Brentford  Ferry,"  "  Kew  Village,"  etc.  To  the  Royal  Academy  in 
1869  he  sent  "A  Rough  Passage,  from  Nature"  ;  in  1871,  "Breaking 
up  of  the  Agamemnon  " ;  in  1875,  "The  Calais  Pier,"  after  Turner. 
His  "  Shere  Mill-Pond,  Surrey  "  (belonging  to  J.  H.  Maghee)  was  in 
the  Exhibition  of  the  Water-Color  Society  at  the  National  Academy 
in  1875,  and  other  etchings  of  his  have  been  seen  in  New  York  and 
Boston  in  other  seasons.  To  the  Centennial  Exhibition  at  Philadel- 
phia in  1876  he  sent  "The  Breaking  up  of  the  Agamemnon "  and 
"  The  Calais  Pier,"  —  "commended  for  excellent  specimens  of  etchings, 
boldly  etched,  great  spirit  shown,"  in  the  official  report  of  the  judges. 

Haghe,  Louis.  (Belgian-Brit.)  Born  in  Belgium,  in  the  early  part 
of  the  present  century.  He  has  been  for  many  years  a  resident  of 
England.  He  began  his  professional  life  as  a  lithographer,  publishing 
a  great  number  of  landscape  views  of  English,  Belgian,  and  German 
scenery.    Later  he  turned  his  attention  to  painting,  chiefly  in  water- 


324     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


colors,  and  was  elected  a  member  of  the  Institute  of  Painters  in 
Water-Colors  in  1835,  holding  the  office  of  President  for  some  sea- 
sons, and  contributing  annually  to  its  exhibitions.  His  specialty  is 
old  interiors,  and  his  works  are  highly  prized  by  connoisseurs.  Among 
them  may  be  mentioned,  "  The  Interior  of  the  Hall  at  Bruges,"  "  The 
Brewer's  Hall,  Antwerp,"  "  Interior  of  St.  Mark's,  Venice,"  ■ "  Tomb 
in  the  Church  of  St.  Bavon,  Ghent,"  "  A  Flemish  Cabaret,"  "  Cross- 
Bow  Practice,"  "  Courtyard  of  the  Hotel  Tiberio,  Capri,"  "  St.  Peter's 
Day  at  Borne,"  "  The  Choir  of  Santa,,  Maria  Novella  "  (in  oil),  etc. 
His  "  Council  of  War  at  Courtray,"  dated  1839,  in  the  Yernon  Col- 
lection, is  at  the  National  Gallery,  London.  "  The  Night- Watch " 
he  sent  to  Philadelphia  in  1876. 

Hahnel,  Ernst  Jules.  (Ger.)  Born  at  Dresden,  1811.  Professor 
and  member  of  the  Academy  at  Dresden.  Studied  architecture  at 
first,  then  sculpture  under  Rietschel  and  Schwanthaler.  The  works 
which  first  gave  him  reputation  were  some  bas-reliefs  at  the  theater 
at  Dresden.  Among  these  was  a  Bacchic  scene,  full  of  life  and  move- 
ment. He  executed  a  statue  of  Beethoven,  erected  at  Bonn  in  1845  ; 
one  of  Charles  VI.  for  the  University  at  Prague,  of  Ch.  Marie  de 
Weber  for  the  city  of  Dresden  ;  also  a  colossal  statue  of  Cornelius,  a 
Madonna,  etc.  At  the  Leipsic  Museum  there  is  a  collection  of  models 
of  his  larger  works. 

Hale,  William  Matthew.  (Brit.)  Contemporary  English  artist, 
residing  in  London.  Associate  of  the  Society  of  Painters  in  Water- 
Colors.  He  paints  landscapes  and  marine  views.  Among  his  works 
are,  "  Glen  Logan,"  "  Twilight  after  Rain,"  "  Tenby,  —  Twilight," 
"  Swansea  Bay,"  "South  of  the  Alps,"  "A  Lonely  Moor,"  "At  the 
Head  of  Loch  Maree,"  "  St.  Luke's,  —  Summer,"  etc.  To  the  Paris 
Exposition  of  1878  he  sent  "  On  the  Coast  of  Somerset"  and  "  Great 
Bock  of  Coigach." 

"  '  Swansea  Bay  '  is  a  delightful  sketch  of  ships  in  smooth  water,  carefully  and  even 
precisely  drawn  ;  and  yet  overspread  with  the  warmth  and  light  of  things  seen  and  real- 
ized with  atmospheric  truth."  —  Art  Journal,  March,  1875. 

Hale,  Susan.  (Am.)  Born  in  Boston,  1833.  She  received  no 
regular  instruction  in  art,  studying  from  Nature,  and  devoting  herself 
particularly  to  water-color  painting.  She  is  greatly  interested  to  show  , 
the  charm  and  possibility  of  water-color  landscape,  hitherto,  she  con- 
siders, too  much  overlooked  and  neglected  in  America.  She  went 
abroad  to  study  this  branch  of  the  art,  spending  the  years  1871  and  '72 
in  close  observation  in  London,  Paris,  and  Germany.  The  rest  of  her 
professional  life  she  has  passed  in  Boston,  where  her  paintings  have 
been  exhibited,  and  where  they  are  in  the  collections  of  Thomas  G. 
Appleton,  Mr.  Kidder,  Mr.  Shimmin,  and  others.  At  the  Mechanics1 
Fair,  Boston,  1878,  Miss  Hale  exhibited  "  A  Rocky  Landscape,"  "The 
Capitol  from  the  Soldiers'  Home,  Washington,"  and  "  The  Capitol 
from  Arlington  Heights." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  325 


"  Miss  Hale  has  a  collection  of  about  fifty  water-color  sketches  in  her  studio  at  the 
Art  Club  rooms,  where  they  may  be  seen  by  the  public.  They  represent  the  work  of  the 
summer  of  1878  at  Mt.  Monadnock,  N.  H.,  Matunuck,  R.  I.,  Magnolia,  Mass.,  and  Wash- 
ington, D.  C.  The  sketches  are  all  done  in  Miss  Hale's  broad,  bold,  free,  characteristic 
style,  with  which  the  public  is  quite  familiar.  Among  the  number  are  many  very  pleas- 
ing pictures.  They  are  not  merely  effects,  although,  as  a  whole,  very  sketchy,  and  have 
znany  qualities  which  might  easily  be  obscured  in  finishing,  detrimentally  to  the  paint- 
ings. The  studies  of  Nature  in  action  are  far  more  effective  than  the  others.  And  it  is 
not  the  subjects  alone  that  make  them  so.    The  artist  —  as  we  see  her  in  these  sketches 

—  seems  to  be  more  in  sympathy  with  Nature  when  there  is  real  action  in  the  scene,  — 
something,  at  least,  that,  representing  force,  needs  to  be  interpreted  forcibly.  She  seizes 
upon  the  prominent  features,  presents  them  faithfully  and  with  true  artistic  enthusiasm." 

—  Boston  Daily  Advertiser,  November  12,  1878. 

Hale,  Ellen  Day.  (Am.)  Born,  1855.  Daughter  of  Rev.  Edward 
Everett  Hale.  She  has  spent  her  professional  life  in  Boston,  receiving 
her  first  instructions  in  art  from  Dr.  Rimmer,  later  studying  under 
W.  M.  Hunt  and  Helen  M.  Knowlton.  At  the  Mechanics'  Fair,  Bos- 
ton, 1878,  she  exhibited  "  Wheeling  Iron,"  an  oil-painting.  Her  life- 
size  portrait  of  her  young  brother,  which  was  exhibited  at  Blakeslee 
&  Noyes',  a  few  years  since,  was  a  promising  work  for  so  young  an 
artist. 

Hall,  George  Henry,  N.  A.  (Am.)  Born  in  Boston,  1825.  He 
began  painting  in  1842,  without  a  master.  In  1849  he  went  to  Diis- 
seldorf,  remaining  one  year.  After  a  residence  of  some  time  in  Paris, 
he  opened  a  studio  in  New  York  in  1852,  painting  fruit  and  flower 
pieces  and  subjects  from  Shakspere.  In  1860  and  '66  he  visited 
Spain,  making  many  pictures  of  heads  and  figures  from  Spanish  rural 
life.  He  painted  for  some  time  in  Italy  in  1872,  and  made  a  journey 
to  Egypt  and  Cairo  in  1875.  Mr.  Hall  was  elected  a  full  member  of 
the  National  Academy  in  1868,  contributing  regularly  to  its  exhibi- 
tions. In  1867  he  sent  "  The  Precious  Lading  "  (painted  in  Seville, 
Spain)  ;  in  1868,  "  A  Group  of  Spanish  Children  "  ;  in  1869,  "  The 
Thursday  Fair  of  Seville  "  ;  in  1870,  "  Young  Lady  of  Seville  and 
her  Duenna"  and  "Lilacs";  in  1871,  "The  Seasons"  (a  series  of 
four  pictures  belonging  to  Richard  Butler)  ;  in  1874,  "  The  Roman 
Fountain"  and  "Pomegranates";  in  1877,  "Autumn";  in  1878, 
"  Winter,"  "  In  the  Rug  Bazaar,  Cairo,"  and  "  An  Oven  at  Pompeii." 
His  "  April  Showers,"  sold  to  Goupil  &  Co.  in  1856,  was  engraved. 
William  T.  Blodgett  bought  "Spanish  Grapes."  "The  Duenna" 
belongs  to  John  F.  Denny  ;  "  Graziella,"  to  Governor  Fairbanks  ;  a 
fruit-piece,  to  Samuel  V.  Wright  of  New  York  ;  and  "  The  Curiosity 
Bazaar  of  Cairo,"  to  Mr.  Cook  of  New  York. 

Hall,  Sydney  P.  (Brit.)  Born  at  Newmarket,  England,  1842. 
He  studied  art  at  Heatherley's  school,  in  the  Royal  Academy,  and  under 
his  father  and  Arthur  Hughes.  He  is  best  known  as  special  artist  to 
the  London  Graphic,  abroad  and  at  home.  He  furnished  many 
spirited  sketches  to  this  journal  of  the  Franco-German  war,  the 
originals  of  which  are  in  his  own  possession.    He  accompanied  the 


326     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Prince  of  Wales  to  India,  as  private  artist  attached  to  the  Royal  suite  ; 
the  originals  of  his  drawings  relating  to  that  tour  being  now  in  the 
possession  of  the  Prince  of  Wales.  Among  his  oil-paintings  are,  "  Her 
Majesty  presenting  Colors  to  the  79th  Highlanders/'  seen  at  the  Royal 
Academy  in  1875,  and  "  The  Marriage  of  the  Princess  Louise  to  the 
Marquis  of  Lome,"  never  publicly  exhibited,  belonging  to  the  Mar- 
quis of  Lome.  In  water-colors  his  best-known  works  are,  "  The 
Review  in  Windsor  Park,  July  10,  1877,"  and  "  The  Queen  visiting 
the  Camp  on  Ascot  Heath,  July  9,  1877,"  both  at  the  Grosvenor  Gal- 
lery in  1878,  and  both  belonging  to  the  Queen. 

"  The  picture  ['  Her  Majesty  presenting  Colors  to  the  79th  Highlanders  ']  is  worked 
©ut  with  great  minuteness,  yet  is  broad  in  treatment  and  most  effective  ;  the  drawing 
of  the  horses  is  excellent,  and  their  action  very  spirited.  The  portraits  of  the  Royal 
personages  and  others  are  unmistakable,  and  the  skill  which  has  brought  the  gayly 
costumed  throng  into  harmonious  yet  brilliant  coloring  merits  great  commendation." — 
Art  Journal,  August,  1873. 

Halsall,  William  Formby.  {Brit.-Am.)  Born  at  Kirkdale,  Eng- 
land, 1841.  At  the  age  of  twelve  he  went  to  sea,  following  the  life 
of  a  sailor  for  seven  years.  In  1860  he  began  fresco-painting  with 
W.  E.  Norton.  At  the  outbreak  of  the  Civil  War  he  enlisted  in  the 
Federal  navy,  and  served  two  years.  In  1863  he  again  painted  in 
fresco,  but  gave  it  up,  devoting  himself,  finally,  to  marine  painting, 
occupying  for  some  time  the  same  studio  with  William  E.  Norton.  He 
studied  in  the  Lowell  Institute  eight  years.  His  "Chasing  a  Blockade- 
Runner  in  a  Fog  "  and  "  Rendezvous  of  the  Fishermen  "  were  at  the 
Mechanics'  Fair  in  Boston  in  1878. 

Halse,  G.  {Brit.)  A  sculptor,  residing  and  practicing  his  profes- 
sion in  London.  As  an  artist,  he  is  self-taught.  He  exhibits  fre- 
quently at  the  Royal  Academy,  sending  there  in  1858  a  bust  of  the 
Duke  of  Devonshire.  Among  his  ideal  wTorks,  exhibited  in  different 
seasons  since  that  time,  are,  "  Nora  Creina,"  "  Nydia,"  "  The  Tarpeian 
Rock,"  "  The  Dawn  of  Thought,"  "  Madeline,"  "  Defending  the  Pass," 
"  Australia,"  "  Blind  Girl  Reading,"  "  After  the  Bath,"  "  The  Coming 
Storm  "  (rilievo),  "  The  Vigil,"  etc.,  besides  portrait  busts.  He  is  also 
the  author  of  several  works  of  fiction  in  prose  and  verse,  illustrated 
by  himself. 

"  I  venture  to  name  '  Mrs.  Cornwallis  West '  by  G.  Halse  as  an  exemplary  piece  of  chis- 
eling, carefully  and  tenderly  composed  in  every  touch.  If  the  hair  on  the  forehead  were 
completely  finished,  this  would  be  a  nearly  perfect  bust."  —  Ruskin's  Notes  of  the  Acad- 
emy, 1878. 

Halswelle,  Keeley.  (Brit.)  Born  at  Richmond,  1834.  At  pres- 
ent a  resident  of  London,  he  has  painted  in  Edinburgh  and  Rome, 
devoting  himself  particularly  to  the  portrayal  of  incidents  of  modern 
Italian  peasant  life.  He  was  elected  an  Associate  of  the  Royal  Scot- 
tish Academy  in  1866.  Among  his  more  important  works  are,  "  Roba 
di  Roma"  (exhibited  in  London,  Paris,  and  Vienna),  "  Contadina  in 
St.  Peter's,"  "  The  Quack  Doctor,"  "  Non  Angli  sed  Angeli,"  "  The 
Play  Scene  in  Hamlet,"  etc. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  327 


"  Halswelle  has  dwelt  in  Venice  until  he  has  caught  the  spirit  of  its  beauty.  He  has 
closely  watched  the  varying  tones  into  which  the  tints  of  the  palaces  are  thrown  by  the 
changing  weather,  and  the  consequence  is  that  each  design  has  a  superior  quality  of 

veracity  that  can  only  belong  to  work  begun  and  executed  in  presence  of  its  subject  

This  style  is  fitted  to  deal  with  broad  and  decided  effects  of  color."  —  Art  Journal, 
January,  1875. 

Hamerton,  Philip  G.  {Brit.)  Born  in  1834.  Began  the  study 
of  art  in  1853.  Studied  in  Paris  in  1855.  He  is  better  known  as  a 
writer  than  as  a  painter.  He  early  turned  his  attention  to  etching, 
and  published  in  1368  "  Etching  and  Etchers,"  illustrated  by  original 
plates.  He  is  founder  and  editor  of  the  Portfolio,  a  valuable  monthly 
art  magazine,  devoted  particularly  to  etchings.  Among  his  works 
are,  «  The  Painter's  Camp,"  «  The  Intellectual  Life/'  "  Painting  in 
France,"  and  "  Contemporary  French  Painters." 

Among  his  pictures  are,  "  Crossing  the  Loch,"  "  The  Keeper's  Cot- 
tage," "  Kilchurn  Castle,"  u  River  Yonne,"  etc 

"  Hamerton  belongs  to  no  school  of  painting,  acknowledges  no  leader,  in  writing  he 
aims  to  be  clear  and  readable,  and  is  always  very  careful  not  to  go  beyond  the  limits  of 
what  he  has  really  learned  and  observed  In  this  probably  lies  the  secret  of  his  very 
considerable  degree  of  literary  and  artistic  success."  —  Art  Journal,  October,  1876. 

Hamilton,  James.  (Am.)  Born  in  Ireland  (1819-1878).  Re- 
moved to  America  at  an  early  age,  settling  in  Philadelphia.  He  was 
brought  up  to  commercial  pursuits,  but,  displaying  talents  for  art,  he 
adopted  it  as  a  profession  while  still  a  young  man.  He  was  assisted 
by  John  Sartain  and  other  Philadelphia  gentlemen,  and  obtained  em- 
ployment as  a  professor  of  drawing  in  that  city  as  a  means  of  support 
while  pursuing  his  art  studies.  In  1854  he  went  to  England,  spend- 
ing some  time  in  London.  He  returned  to  Philadelphia  in  1856,  and, 
having  turned  his  attention  to  drawing  upon  stone  and  wood,  he  fur- 
nished the  illustrations  for  Dr.  Kane's  "  Arctic  Explorations,"  "  Ara- 
bian Nights,"  "  Ancient  Mariner,"  and  other  popular  works.  Among 
his  oil-paintings  may  be  mentioned,  "  Capture  of  the  Serapis,"  "  Old 
Ironsides,"  "  Wrecked  Hopes,"  "  Egyptian  Sunset/'  **  Moonlight  Scene 
near  Venice,"  and  "  Morning  off  Atlantic  City  "  (belonging  to  Mrs.  C. 
S.  Longstreet  of  New  York). 

He  was  particularly  successful  in  his  marine  views. 

"  The  engravings  of  Dr.  Kane's  book  are  eminently  happy,  the  productions  of  a  man 
who  is  a  real  poet  in  art,  and  who  invests  the  whole  work  with  a  halo  of  romance,  mys- 
terious as  the  effects  of  light  in  those  northern  regions,  and  which  could  scarcely  have 
been  produced  by  the  power  of  words. "  —  Blackwood's  Magazine. 

"  Hamilton's  style  is  bold  ;  he  does  not  aim  at  high  finish  ;  but  he  is  the  reverse  of 
little,  and  aims  to  give  emphatically  his  own  feeling  and  sense  of  a  subject."  —  Tucker- 
Mais'' s  Book  of  the  Artists. 

Hamilton,  J.  McLure.  (Am.)  Born  in  Philadelphia,  1853.  He 
studied  art  in  the  Royal  Academy  at  Antwerp  under  Van  Lerius  and 
in  FEcole  des  Beaux- Arts,  Paris,  under  Gerome.  His  professional 
life,  which  began  about  1875  or  '76,  has  been  spent  in  his  native  city. 
His  most  important  work  so  far  probably  is  "  Le  Rire,"  at  the  Na- 


328     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tional  Academy,  New  York,  in  1877,  and  Paris  Exposition  of  1878. 
Associated  with  others  in  Philadelphia,  he  published  in  1878  a  bro- 
chure called  "  L'Academie  pour  Hire,"  founded  on  the  French  publi- 
cation of  the  same  title,  which  attracted  some  attention,  being  the 
first  thing  of  its  kind  issued  in  America. 

"  The  figure  and  face  [in  '  Le  Hire  ']  are  foreshortened  in  a  way  not  easy  to  handle, 
but  treated  with  firmness  and  spirit.  The  picture  possesses  that  power  which  very  few 
painters  possess,  —  the  power  of  telling  much  more  than  they  say."  —  New  York  Times, 
April  8,  1877. 

"  It  is  a  very  clever  performance,  this,  and  the  satire  is  of  so  kindly  a  tone  that  the 
artists  who  are  parodied  can  but  join  in  the  laugh  against  themselves.  The  drawings 
are  full  of  spirit,  and  for  the  most  part  are  true  caricatures  in  that  they  really  represent 
the  essential  characteristics  of  the  original,  carried  to  an  extreme.  ....  The  title  of 
the  work  is  '  L'Academie  pour  Rire.'  "  —  Philadelphia  Journal. 

Hamman,  Eduard- Jean-Conrad.  (Belgian.)  Born  at  Ostende, 
1819.  Chevalier  of  the  Order  of  Leopold  and  of  the  Legion  of  Honor. 
Studied  under  De  Keyser  at  Antwerp,  and  at  first  painted  historical 
subjects,  several  of  which  were  purchased  by  the  Museum  at  Brussels. 
In  1846  he  went  to  Paris,  where  he  settled.  He  has  executed 
much  work  for  the  government.  His  "Infancy  of  Charles  V.,  —  a 
Eeading  of  Erasmus,  Brussels,  1511"  (1863)  is  in  the  Luxembourg. 
At  the  Salon  of  1877  he  exhibited  a  portrait  and  "  The  Lesson  in 
Water-Colors  ";  in  1876,  "  The  Eomance  ";  in  1873,  "  The  Secrets  of 
Madame  "  and  "The  Secret  of  the  Soubrette  ";  in  1870,  "  A  Fugitive 
Protestant  Family  after  the  Kevocation  of  the  Edict  of  Nantes  "  and 
"  A  Study  of  a  Head."  His  "  Dante  at  Eavenna  "  and  "  The  Entrance 
of  Albert  and  Isabella  to  Ostende "  are  in  the  Museum  at  Brussels. 
His  "  Pearl  Necklace  "  belongs  to  Mr.  T.  E.  Butler  of  New  York.  At 
the  Paris  Salon  of  1868  he  exhibited  "  Souvenirs  of  the  Father,  —  Good 
Blood  cannot  lie  !  "  and  a  portrait,  in  oils  ;  also  "  The  Waiting,"  in 
water-colors. 

Hamon,  Jean  Louis.  (Fr.)  Born  at  Plouha  (1821  - 1874).  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Delaroche  and  Gleyre.  He 
first  exhibited  in  1848,  "  A  Panel  or  Frieze  of  a  Door  "  and  the 
"Tomb  of  Christ"  (at  the  Museum  of  Marseilles);  in  1849,  "A 
Eoman  Placard,"  "  Equality  in  the  Seraglio,"  and  "  A  Paroquet  chat- 
tering with  Two  Young  Girls."  About  this  time  he  went  to  the  man- 
ufactory at  Sevres.  He  there  executed  a  casket  in  enamel,  for  which 
he  received  a  medal  at  the  London  Exposition  of  1851.  This  same  cas- 
ket, with  some  vases  also  executed  by  him,  were  much  noticed  and  ad* 
mired  in  the  first  French  Exposition.  But  however  good  work  of  this 
kind  may  be,  an  artist  gains  small  reputation  by  it.  In  1852  he  left 
Sevres.  At  the  Salon  of  1853  a  Greek  idyl  called  "  Ma  soeur  n'y  est 
pas  "  was  awarded  a  medal  of  the  third  class,  and  was  purchased  by 
the  Minister  of  the  Emperor's  household.  At  the  Expositions  of  1855 
and  '67  he  received  medals  of  the  second  class,  and  in  1855  was  made 
Chevalier  of  the  Legion  of  Honor.    His  life  was  a  sad  one,  although 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


329 


he  met  with  success  professionally.  As  a  youth,  when  too  poor  to 
take  proper  care  of  himself,  he  contracted  the  disease  of  which  he 
died.  He  was  unsuspicious  to  the  last  degree,  and  when  he  had 
money,  his  purse  was  open  to  many  who  proved  ungrateful.  In  1862, 
being  much  in  debt,  he  left  for  Rome  without  announcing  his  depart- 
ure. In  1852  he  visited  Naples,  Pompeii,  and  Capri,  where  he  re- 
mained. In  1871,  having  nearly  paid  his  debts  in  Paris  with  the  pro- 
ceeds of  his  labor  while  absent,  he  returned  there  and  announced  his 
intention  of  marrying.  He  made  a  home  at  Saint-Raphael,  where  he 
lived  quietly  and  happily.  At  this  period  he  painted  "  La  Blanchis- 
seuse  d'amour."  In  1872  he  visited  Lake  Lucerne  and  there  sketched 
the  principal  groups  for  his  "  Sad  Shore,"  of  which  he  had  first 
thought  when  at  Capri.  He  finished  this  work  for  the  Salon  of  1873. 
In  May,  1874,  he  found  himself  very  ill,  and  made  his  preparations 
to  go  to  Vichy,  but  died  before  he  was  ready  for  the  journey.  His 
works  are  too  numerous  to  be  mentioned.  Among  them  are,  "  Bou- 
tique a  quatre  sous,"  "  Aurora  "  (sent  to  Paris  from  Rome  and  pur- 
chased by  the  Empress),  "  The  Muses  at  Pompeii,"  "  Butterfly  En- 
chained," "The  Promenade,"  "The  Elder  Sister,"  "The  Juggler," 
"  The  Orphans,"  etc.  At  the  Johnston  sale,  New  York,  1876,  "  Spring 
Flowers  "  (42  by  32)  was  sold  for  $  4,600,  and  "  Old  China  Shop  "  (16  by 
19)  for  $  1,350.  At  the  Latham  sale,  New  York,  1878,  "  Girl  water- 
ing Flowers  "  (18  by  15)  sold  for  $  750. 

"There  are  few  painters  whose  careers  are  as  full  of  good  as  that  of  Hamon  ;  there  are 
few  in  our  age  who  are  more  generally  known.  His  pictures  are  in  all  countries.  France 
has  the  smallest  number  of  them,  the  Museum  of  the  Luxembourg  none.  Hamon  was  not 
intriguing  ;  ambitious  only  for  his  art,  he  knew  not  how  to  employ  the  means  by  which 
one  rises  to  all  distinctions.  He  remained,  nevertheless,  as  an  original  personality,  as  a 
marked  personality  of  our  epoch.  He  had  no  pupils,  poesy  teaches  not ;  he  has  had 
many  imitators,  whose  outside  only  has  some  analogy  to  him,  but  in  whom  the  depth  is 
totally  wanting.  His  death  has  taken  a  master  from  us."  —  Walther  Fol,  Gazette  des 
Beaux-Arts,  February,  1875. 

"  Hamon  has  seldom  allowed  himself  full  color,  but  has  a  natural  preference  for  har- 
monies of  grays  I  have  heard  English  spectators  criticise  Hamon's  color  as  being 

false,  but  this  is  unfair  ;  his  work  is  not  strictly  color  in  the  ordinary  sense  at  all,  that 
is,  he  does  not  attempt  the  full  hues  of  Nature,  but  contents  himself  with  certain  modi- 
fied harmonies,  — artificial,  if  you  like,  but  often  very  beautiful.  It  may  be  observed  in 
this  place,  that  for  some  years  past  the  little  band  of  classicists  have  been  pursuing  the 
most  careful  researches,  accompanied  by  very  delicate  experiments,  in  color  harmonies, 
of  a  kind  which  is  not  easily  explicable  in  words.  Their  color  is  just  as  much  nature  as 
music  is,  and  is  no  more  to  be  blamed  because  it  is  not  just  like  natural  objects  than 
symphonies  by  musical  composers  are  to  be  blamed  because  they  are  not  like  the  noises 
we  hear  in  the  mountains  or  by  the  sea."  —  P.  G.  Hamekton,  Contemporary  French 
Painters. 

Hanoteau,  Hector.  (Fr.)  Born  at  Decize,  1820.  Chevalier  of 
the  Legion  of  Honor.  Studied  under  Gigoux,  and  gave  himself  up 
to  landscape-painting.  He  has  exhibited  his  works  at  nearly  every 
Salon  since  1855.  At  the  Luxembourg  are  two  of  his  pictures.  In 
1877  he  exhibited  "The  Mill"  and  "  Le  chef  de  ratre";  in  1876, 


330     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  Laughing  Water  "  and  "  The*  Kids"  ;  in  1875,  "  The  Frogs  "  ; 
etc.  His  "Pool  in  the  Nivernais"  (1857)  was  bought  by  the  King 
of  Portugal.  "  The  Nurse  of  the  Poor"  (1863)  is  at  the  Museum  of 
Nevers.  The  "  Paradise  of  Geese  "  (1864)  is  at  the  Museum  of  Mar- 
seilles. At  the  Paris  Salon  of  1878  he  exhibited  a  portrait  of  General 
Hanoteau  and  "  La  tournee  du  meunier." 

Harding,  Chester.  (Am.)  Born  at  Conway  (1792  -  1866).  Be- 
gan  life  as  a  peddler  in  Western  New  York,  painted  signs  for  some 
time  in  Pennsylvania,  and  finally,  although  entirely  self-taught,  turned 
his  attention  to  portrait-painting,  in  which  branch  of  the  art  he  be- 
came popular  and  fashionable.  He  lived  in  St.  Louis,  Philadelphia, 
and  Boston.  Going  to  London  at  the  height  of  his  fame,  he  painted 
Rogers  the  poet,  Alison  the  historian,  and  several  members  of  the 
Royal  Family  and  nobility  of  England.  Among  his  American  por- 
traits are  those  of  Daniel  Boone  and  General  Sherman  (one  of  his 
latest  works).  His  portrait  of  Washington  Allston,  belonging  to  S. 
Batchelder,  was  at  the  Centennial  Exhibition  of  1876.  His  portrait 
of  Daniel  Webster,  painted  for  Hon.  George  Ashmun  of  Springfield, 
Mass.,  is  now  in  the  possession  of  the  Bar  Association  of  New  York. 
His  "  John  Randolph  "  is  in  the  Corcoran  Gallery.  At  the  time  of 
Harding's  death  the  Boston  Post  said  :  — 

"  He  ranked  with  the  representative  painters  of  America,  and  in  him  American  art 
was  made  honorable  at  home  and  respectable  abroad.  When  most  who  are  now  turned 
of  ripe  age  were  children,  Harding  was  engaged  in  painting,  on  durable  canvas,  hosts  of 
private  men  of  worth,  and  an  illustrious  band  of  the  public  men  associated  in  public  life 
at  Washington  and  elsewhere.  ....  Although  master  of  the  great  principles  of  his  art,  he 
needed  only  the  human  face  divine  and  the  pencil  of  his  own  genius  to  give  life  to  the  mov- 
ing canvas.  Hence  he  belongs  to  the  order  of  original  artists.  He  copied  no  man,  and  he 
flattered  no  man.  He  aimed  in  the  practice  of  his  art  to  be  truthful,  accurate,  and  just." 

The  Springfield  Republican  said  of  him  :  — 

"  As  a  portrait-painter  he  was  one  of  the  first  in  point  of  excellence  that  America  has 

ever  produced,  and  in  his  time  he  was  the  first  without  dispute  Nor  had  age 

dimmed  his  power,  though  it  had  tempered  his  ambition  and  checked  his  industry ;  he 
only  last  week  gave  the  finishing  touches  to  a  remarkable  likeness  of  General  Sherman, 
which  he  began  in  St.  Louis  during  the  past  season,  from  pure  enthusiasm  for  the  soldier 
and  the  man.  It  is  among  the  finest  of  his  works,  and  can  hardly  be  excelled  by  any 
other  likeness  for  spirit  and  fidelity. " 

Harding,  James  D.  (Brit.)  (1798-1863.)  A  pupil  of  Samuel 
Prout,  devoting  himself  to  landscapes  in  oil  and  water,  and  exhibiting 
frequently  at  the  Royal  Academy  and  the  Society  of  Painters  in 
Water-Colors.  Among  the  better  known  of  his  works  are,  "  Anglers 
on  the  Loire,"  "  View  of  Fribourg,"  "  Falls  of  Schaffhausen,"  "  The 
Alps  at  Como,"  etc.  He  is  also  the  author  of  several  text-books  for 
schools,  and  other  highly  regarded  works  on  art  subjects. 

Hardwick,  Philip,  A.  R.  A.  (Brit.)  (1792-1870.)  Son  of 
Thomas  Hardwick,  an  architect,  in  whose  office  his  youth  was  spent. 
The  buildings  at  St.  Katberine's  Docks,  London,  brought  him  first  into 
popular  notice.    He  furnished  the  designs  for  Goldsmith's  Hall,  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  331 


City  Club,  the  hall  and  library  of  Lincoln's  Inn,  the  Euston  Square 
Railway  Terminus  in  London,  the  Roman  Catholic  Cathedral,  Lim- 
erick, and  other  prominent  buildings  throughout  the  kingdom.  He 
was  made  an  Associate  of  the  Royal  Academy  in  1839  and  Academi- 
cian in  1841,  and,  at  his  own  request,  was  placed  on  the  retired  list  in 
1869.    He  was  also  a  Fellow  of  the  Royal  Society. 

Hardy,  Frederick  Daniel.  (Brit.)  Born,  1826.  Began  the 
study  of  music  as  a  profession,  but  relinquished  it  for  art  First  ex- 
hibited in  the  Royal  Academy  in  1851.  In  1855  he  sent  "  Interior  of 
a  Kitchen  "  ;  in  1859,  "  The  Foreign  Guest »' ;  in  1860,  "  The  Crash  "  ; 
in  1862,  "The  Sweep,'5  which  was  sold  in  1875  for  610  guineas, 
three  times  the  price  originally  paid  for  it  to  the  painter.  In  1863  he 
exhibited  "The  Doctor";  in  1865,  "The  Leaky  Roof"  ;  in  1866, 
"  The  Threatened  Deluge"  ;  in  1869,  "The  Broken  Window  "  (sold 
at  the  Eden  sale,  in  1875,  for  270  guineas),  "The  Afternoon  Nap" 
(same  sale,  290  guineas),  and  "The  Early  Risers"  (170  guineas). 
His  "  Reading  the  Will "  (exhibited  in  1870)  was  sold  for  500  guineas. 
In  1870  he  had,  at  the  Royal  Academy,  "  Christmas  Visitors "  ;  in 
1871,  "Housekeepers  Alarmed";  in  1872,  "Explorers"  and  "A 
Quartette  Party  "  ;  in  1873,  "  Looking  for  Father  "  ;  in  1875,  "  Stirring 
News"  ;  in  1876,  "Fatherless"  ;  in  1877,  "A  Misdeal"  ;  in  1878, 
"  A  Fairy  Tale  "  and  "  The  Gladdened  Hearth." 

"  Few  of  our  living  painters  of  genre  subjects  are  more  deservedly  popular  than  Fred- 
erick Hardy.  Asa  rule  he  selects  themes  that  are  attractive,  and  they  are  treated  with 
judgment,  feeling,  and  good  taste,  and  without  the  slightest  tinge  of  vulgarity  in  their 
humor.  His  coloring  is  bright  and  harmonious,  although  we  have  noticed  of  late  a 
tendency  towards  heaviness  in  his  shadows  and  backgrounds."  —  Art  Journal,  March, 
1875. 

Hargitt,  Edward.  {Brit.)  Born  in  Edinburgh,  1835.  Began 
the  study  of  art  in  the  School  of  Design  in  his  native  city,  and,  later, 
was  for  two  years  in  the  studio  of  McCulloch.  He  has  been  for  some 
years  a  resident  of  London  and  member  of  the  Institute  of  Painters 
in  Water-Colors.  Among  his  works  exhibited  in  London  and  else- 
where are,  "Red  Deer, —Evening,"  "On  a  Highland  Road,"  "The 
Highlander's  Home,"  "Culver  Cliffs,  Isle  of  Wight,"  "A  Scotch 
Shepherd,"  and,  in  1878,  "On  the  Moor,"  "The  Twa  Drovers,"  "On 
the  Coast,  Shetland,"  and  others. 

Harnisch,  Albert  E.  (Am.)  A  native  of  Philadelphia,  he  dis- 
played a  taste  for  art  at  an  early  age,  modeling  his  first  work,  a 
"  Cupid,"  while  still  a  lad.  This  was  followed  by  "  Love  in  Idleness,"* 
"  Wandering  Psyche,"  "  Little  Protector,"  "  Little  Hunter,"  etc.  He 
was  a  pupil  of  Joseph  A.  Bailly  in  the  Philadelphia  Academy  of  Fine 
Arts  ;  later,  going  to  Italy  to  study,  he  has  been  a  resident  of  Rome 
for  eight  years,  executing  there  his  "  Boy  in  the  Eagle's  Nest,"  etc. 
Mr.  Harnisch  is  bold  in  his  designs  and  original  in  his  conceptions. 
His  ideal  subjects  usually  represent  some  action  which  requires 


332      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


striking  attitudes,  such  as  only  a  sculptor  who  is  an  anatomist  can 
model. 

To  the  Philadelphia  Exhibition  of  1876  he  sent  a  statue  of  William 
J.  Mullen  and  "  A  Sketch  for  a  Monument  to  the  Prisoner's  Friend/' 
His  portrait  busts  are  especially  characteristic  of  his  subjects,  and  give 
their  best  and  strongest  personalities.  He  has  recently  been  engaged 
upon  a  model  for  the  proposed  equestrian  statue  of  General  Lee,  to  be 
erected  at  Richmond,  Va.,  of  which  the  Boston  Evening  Transcript  of 
October  25,  1878,  says  :  — 

"  It  is  remarkable  in  respect  to  its  simplicity,  and  presents  the  General  in  a  calm  and 
dignified  attitude,  and  with  uncovered  head.  Leading  the  horse  is  a  typical  figure  in 
the  form  of  a  youth  or  genius,  in  classic  costume,  chanting  from  his  scroll  the  praises 
of  the  hero,  at  the  moment  when  he  is  being  borne  homeward  from  the  anxieties  of  the 
ended  war.  The  group  is  mounted  upon  a  simple  base,  the  lines  of  which  converge 
towards  the  point  of  interest,  and  the  whole  action  is  decidedly  suggestive  of  an  as- 
sembled multitude,  of  whom  the  spectator  involuntarily  feels  himself  to  be  one. " 

Harpignies,  Henri.  (Fr.)  Born  at  Valenciennes,  1819.  Chevalier 
of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of  Achard. 
He  visited  Italy,  and  made  his  debut  at  the  Salon  of  1853.  The  first 
picture  which  really  showed  his  talent  was  that  of  1861,  "The  Edge 
of  a  Wood  on  the  Banks  of  the  Allier."  In  1863  his  works  were  re- 
fused admission  to  the  Salon,  and  the  artist  was  so  angry  that  in  a 
moment  he  destroyed  his  picture  of  "  Wild  Ducks,"  which  had  cost 
him  months  of  labor.  In  1866  his  "  Evening  in  the  Roman  Cam- 
pagna"  received  a  medal,  which  was  so  unanimously  voted  him  that  it 
in  a  sense  repaired  the  slight  he  had  received.  This  picture  is  at  the 
Luxembourg.  Among  his  works  is  "  The  Little  Village  of  Chasteloy  " 
(1877),  which  has  been  much  praised.  Louis  Gonse,  in  the  "  Gazette 
des  Beaux- Arts,"  speaks  in  high  terms  of  his  water-colors  of  1877  ; 
they  were  "  Souvenirs  of  the  Allier "  and  "  Various  Souvenirs."  In 
1876  he  exhibited  "  A  Prairie  of  the  Bourbonnais, —  Morning  Effect," 
and  in  water-colors,  "  L'heure  de  la  becasse  "  and  "  La  place  d'Heris- 
son  "  (Allier)  ;  in  1875,  "  The  Oaks  of  Chateau-Renard  "  and  "  The 
Valley  of  the  Aumance  "  ;  etc.  The  last  is  at  the  Luxembourg.  At 
the  Salon  of  1878  he  exhibited  "  The  Old  Walnut-Tree,  —  a  Souvenir 
of  the  Allier"  and  "The  Coliseum,  Rome." 

"  Harpignies  is  always  the  poet,  as  one  knows.  Perhaps  he  has  never  been  more 
characteristic  in  manner.  Perhaps  his  writing  has  never  been  more  personal,  his  design 
more  ample,  and  at  the  same  time  more  correct.  He  is  always  one  of  those  who  im- 
pose themselves  upon  us  rather  than  seduce.  He  has  a  little  will  in  his  manner.  The 
air  does  not  always  circulate  in  his  landscapes,  and  the  details  sometimes  have  the 
effect  of  the  decoupages  juxtaposes  of  a  game  of  Patience."  — Mario  Proth,  Voyage  au 
Pays  des  Peintres,  1877. 

Hart,  Solomon  Alexander,  R.  A.  (Brit.)  Born,  1806.  At  the 
age  of  fourteen  he  was  apprenticed  to  a  line-engraver,  but  resolved 
to  devote  himself  to  painting,  and  entered  the  Royal  Academy  in 
1823.    In  1835  he  was  elected  an  Associate  of  the  Royal  Academy, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  333 

and  Academician  in  1840.  In  1857  he  was  appointed  Professor  of 
Painting  to  the  Royal  Academy,  holding  that  office  until  1863.  In 
1865  he  was  appointed  Librarian,  a  position  he  still  retains  (1878). 
Among  his  earlier  works  are,  "  Wolsey  and  Buckingham/'  in  1834  ; 
"  Cceur  de  Lion  and  Saladin,"  in  1835  ;  "  Sir  Thomas  More  receiving 
his  Father's  Blessing,"  in  1836  ;  "  Milton  visiting  Galileo  in  Prison," 
in  1847  ;  "  The  Three  Inventors  of  Printing,"  in  1852 ;  "  Columbus," 
in  1854.  To  the  Royal  Academy,  in  1860,  he  sent  "Sacred  Music"  ; 
in  1861,  "  Dilettanti "  ;  in  1863,  "  Desdemona  and  OtheUo "  ;  in 
1864,  "  Benvenuto  Cellini  and  Francis  I."  ;  in  1868,  "  The  Eve  of 
the  Sabbath"  ;  in  1869,  a  portrait  of  Sir  Moses  Montefiore  ;  in  1873, 
"Oliver  Cromwell  and  Manasseh  Ben  Israel";  in  1874,  "Troy 
Weight"  ;  in  1875,  "  A  Reminiscence  of  Ravenna"  ;  in  1876,  "Din- 
ner-Time  at  Penshurst  in  1655  "  ;  in  1877,  "  Reflection  "  ;  in  1878, 
"  Perfidy."    [Died,  1881.] 

Hart,  Joel  T.  (Am.)  Born  in  Kentucky  (1810- 1877).  After  a 
very  slight  common  school  education  Hart  was  apprenticed  to  a 
stone-cutter  in  Lexington,  Ky.,  where  he  began  to  model  busts  in 
clay.  In  1849  he  went  to  Florence,  where  he  executed  a  marble 
statue  of  Henry  Clay  for  the  Ladies'  Clay  Association,  which  is 
erected  in  Louisville,  Ky.  He  is  also  the  author  of  a  colossal  bronze 
statue  of  Clay,  standing  on  St.  Charles  and  Canal  streets,  New  Or- 
leans. Mr.  Probasco  of  Cincinnati  has  one  of  his  portraits  of  Clay. 
He  made  busts  and  statues  of  many  other  eminent  men.  Among 
his  ideal  works  are,  "  Charity,"  "  Woman  Triumphant,"  "  Angelina," 
"  Penserosa,"  etc.  Mr.  Hart  had  a  vein  of  poetical  sentiment  which 
he  sometimes  expressed  in  verse.  He  was  a  faithful  friend,  and  in 
his  long  residence  in  Florence  gained  the  confidence  and  respect  of 
many  who  knew  him  there. 

"  Hart  had  a  delicate  perception  of  the  beauty  of  form  and  the  faculty  of  reproducing 
it,  skill  in  imitation,  but  little  power  of  ideal  invention.  He  excelled  as  a  maker  of 
portrait  busts."  —  Italian  Letter  to  New  YorTc  Times,  March  30,  1877. 

"Speaking  of  Mr.  Hart's  'Woman,'  I  am  reminded  that  he  had  begun  its  composition 
when  I  was  in  his  studio  in  1866.  It  was  his  highest  ambition  to  put  into  marble  his 
ideal  of  the  Christian  woman,  a  triumph  over  the  Pagan,  sensual,  and  earthly  woman  of 
ancient  art ;  on  this  idea,  which  required  the  loftiest  power  of  human  genius  to  pro- 
duce anything  that  should  express  the  sentiment,  he  wrought  intently  the  last  twelve  or 
fifteen  years  of  his  life.  He  aimed  at  a  perfect  woman,  and  of  course  never  realized  his 
ideal.  ....  He  never  satisfied  himself.  Even  after  he  had  done  his  best  and  had  given 
up  his  model  to  the  graver  to  be  put  into  marble,  he  would  work  it  over  again  and  again, 
and  so  his  life  wore  out  with  his  work,  and  he  died  a  year  ago,  leaving  his  perfect  woman 
imperfect  even  in  his  own  esteem."  —  Iren^eus,  Letter  to  New  York  Observer,  January 
24,  1878. 

Hart,  William,  N.  A.  (Am.)  Born  in  Paisley,  Scotland,  1822. 
Taken  to  America  by  his  parents  in  1831,  he  lived  for  some  time  in 
Albany,  N.  Y.,  working  in  the  establishment  of  a  coachmaker  in  that 
city,  for  whom  he  painted  panels,  etc.,  but  soon  displaying  artistic 
ability  of  a  much  higher  grade  than  was  required  in  that  trade,  he 


334     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


became  a  professional  artist,  painting  portraits  in  Troy  and  in  some 
of  the  Western  States.  After  a  brief  sketching-tour  in  the  northern 
and  more  picturesque  portions  of  his  native  Scotland,  he  opened  a 
studio  in  Albany  in  1848,  settling  in  New  York  in  1853.  He  was 
made  Associate  of  the  National  Academy  in  1855,  and  Academician 
in  1858.  At  the  organization  of  the  Brooklyn  Academy  of  Design  in 
1865,  he  was  made  its  President,  holding  that  position  for  some  years. 
He  was  one  of  the  original  members  of  the  American  Society  of  Paint- 
ers in  Water-Colors,  and  President  from  1870  to  J73.  Among  the 
earlier  works  of  William  Hart  may  be  mentioned,  "  The  Gloamin'," 
"  Coming  from  the  Mill,"  "  Up  among  the  Hills,"  "  Peace  and  Plenty," 
"Children  on  the  Shore,"  "  Castle  Eock,"  and  "Path  by  the  Kiver." 

In  1867  he  sent  to  the  National  Academy,  "  September  Snow"  and 
"  Autumn  in  the  Woods  of  Maine  "  (both  in  water-color),  and  to  the 
Water-Color  Exhibitions  in  other  years,  "  Scene  on  the  Peabody 
River,"  in  1868  ;  "  Gorham,  N.  H.,"  in  1870  ;  "  Lake  George"  and 
"  Eastern  Sky  at  Sunset,"  in  1871. 

In  oil  he  exhibited  at  the  National  Academy,  in  1869,  "  Twilight 
on  the  Brook"  and  "  Showery  Day  in  Autumn  "  ;  in  1870,  "  Twilight," 
"  Cedars  of  the  Hudson,"  "  Brook  Study,"  and  others  ;  in  1872,  "  The 
Last  Gleam"  and  "  The  Golden  Hour"  ;  in  1874,  "  Morning  in  the 
Mountains,"  "  The  Misty  Morning  by  the  Lake,"  "  The  Opening  in 
the  Clouds,"  and  "  Cattle  in  the  Woods "  ;  in  1875,  "  Keene  Valley"  ; 
in  1876,  several  cattle  and  landscape  pictures  ;  in  1877,  "  Landscape 
with  Jersey  Cattle"  ;  in  1878,  "  The  Ford." 

His  "  Keene  Valley  "  (oil)  and  "  Mount  Madison,  N.  H  "  (water- 
color)  were  at  the  Centennial  Exhibition  of  1876  ;  his  "  Morning 
after  the  Fog  "  belonged  to  John  Taylor  Johnston  ;  his  "  After  the 
Shower  "  is  the  property  of  S.  J.  Harriot ;  his  "  Mount  Desert " 
(water-color)  and  "  Near  Keene  "  are  in  the  collection  of  S.  V.  Wright. 

"  William  Hart's  landscapes  admirably  discriminate  the  diversities  and  coincidences  of 
natural  phenomena  in  North  Britain  and  North  America  ;  they  display  characteristic 
features  often  rendered  with  consummate  taste.  ....  His  pencil  is  alike  chaste  and  living, 
true  and  tender,  and  many  of  his  smaller  landscapes  are  gems  of  quiet  yet  salient  beauty. " 
—  Tuckekman's  Book  of  the  Artists. 

"  William  Hart's  style  is  rich  and  glowing,  and  for  subjects  he  prefers  the  brilliancy  of 
a  sunset  sky,  or  the  delineation  of  the  gorgeous  tints  of  autumn  foliage,  or  Nature  in  her 
brightest  rather  than  in  her  dark  and  gloomy  phases.  His  paintings,  illustrative  of  sun- 
set effects  on  the  coast,  particularly  those  drawn  on  the  Grand  Menan,  several  of  which 
he  has  sent  from  his  easel  during  the  past  ten  years,  for  exquisite  treatment  of  detail, 
unity  of  sentiment  and  fidelity,  give  a  good  idea  of  his  poetic  fancy,  and  have  been  recog- 
nized as  among  his  strongest  works."  —  Art  Journal,  August,  1875. 

Hart,  James  M.,  N.  A.  (Am.)  Born  in  Kilmarnock,  Scotland,  1828. 
Brother  of  William  Hart,  As  a  child,  he  was  taken  to  America  by 
his  parents,  who  settled  in  Albany,  N.  Y.  Here  he  entered  the  shop 
of  a  coachmaker,  working  with  his  brother  as  a  decorator  in  the  same 
establishment  for  some  years,  until  he  displayed  decided  talents  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  335 


art  of  a  higher  character,  and  became  a  landscape-painter.  In  1851 
he  went  to  Diisseldorf,  spending  a  year  in  the  studio  of  Schirmer. 
He  painted  in  Albany  for  four  years,  and  opened  a  studio  in  New  York 
in  1856,  where  he  still  resides  (1884).  In  1857  he  was  elected  Asso- 
ciate of  the  National  Academy,  and  Academician  in  1859.  Among 
James  Hart's  works  are,  "  Cattle  going  Home"  ;  "  Moonrise  in  the  Adi- 
rondacks  "  ;  "  Autumn  in  the  Woods  "  ;  "  Sunday  Afternoon  in  Berk- 
shire County"  ;  "Winter on  the  Adirondacks"  (N.  A.,  1871)  ;  "  Peace- 
ful Homes  "  (1872)  ;  "  In  the  Orchard  "  and  "  A  Breezy  Day  on  the 
Road  "  (1874)  ;  "  Coming  Out,"  "  Buck  and  Bright,"  and  "  Landscape 
and  Cattle"  (1875);  "Among  Friends  "  (1876) ;  "  Threatening  Weather  " 
and  "  In  the  Pasture,  —  Morning  "  (1877)  ;  "  In  the  Autumn  Woods," 
belonging  to  Rush  C.  Hawkins  (1878).  His  "  Indian  Summer"  and 
"  Summer  Memory  of  Berkshire  "  were  at  the  Paris  Exposition  of 
1878.  His  "  On  the  Croton  "  belongs  to  Launt  Thompson  ;  "  Mid- 
summer's Day  "  and  "  Morning  in  the  Adirondacks,"  to  M.  O.  Rob- 
erts. "  Summer  on  the  Boquet  River "  is  in  the  Stewart  Gallery. 
"A  Summer  Memory  of  Berkshire  "  belongs  to  E.  D.  Morgan  ;  "  Land- 
scape and  Cattle,"  to  J.  H.  Sherwood.  His  "  Trout  Brook  in  the 
Adirondacks "  and  "  A  Misty  Morning  "  were  in  the  Johnston  Col- 
lection (sold  in  1876)  ;  his  "  View  at  Framingham,"  in  oil,  belongs 
to  S.  V.  Wright.  He  was  commended  by  the  judges  at  the  Centen- 
nial Exhibition  of  1876. 

"  In  James  M.  Hart's  studies  of  cattle  the  same  easiness  is  apparent  which  is  so  at- 
tractive in  his  more  simple  landscapes,  and  when  the  two  are  united  the  most  delightful 

harmony  is  observed  in  every  detail  '  The  Summer  on  Boquet  River '  shows 

throughout  a  thorough  knowledge  of  the  properties  of  light  and  shade,  of  atmosphere  and 
perspective,  and  in  gradations  of  color  the  result  is  masterly." — Art  Journal,  June,  1875- 

"  Mr.  James  Hart  was  represented  by  a  single  picture,  '  A  Summer  Memory  of  Berk- 
shire,' which  was  an  agreeable  rendition  of  quiet  pastoral  landscape."  —  Pkof.  Weir's 
Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

"James  M.  Hart  has  long  been  remarkable  for  his  cattle,  and  he  seems  to  be  one  of  our 
painters  with  improvement  and  progress  in  him.  His  '  Autumn  Woods  '  [1877]  is  an  ex- 
cellent piece  of  work  as  to  the  cows  that  defile  out  from  the  trees,  nor  will  it  prove  dis- 
pleasing in  respect  to  the  leafage  and  background." — New  York  Times,  January  26, 
1877. 

Hartley,  J.  S.,  A.  N.  A.  (Am.)  Born  in  Albany,  1845.  He 
began  his  professional  life  as  a  worker  in  marble  under  E.  D.  Palmer. 
Going  abroad  to  study,  he  spent  three  years  in  England,  entering  the 
Royal  Academy  and  gaining  a  silver  medal  in  1869.  After  passing  a 
year  in  Germany  he  returned  to  America,  but  made  a  second  visit  to 
Europe,  when  he  went  to  Paris  and  Borne.  He  has  been  for  some 
time  a  resident  of  New  York.  He  is  one  of  the  original  members  of  the 
Salmagundi  Sketch  Club,  and  was  elected  in  1878  Professor  of  Anat- 
omy in  the  Art  Students'  League.  Among  his  more  important  works 
are,  "The  Young  Samaritan"  (life  size),  "King  Rene's  Daughter" 
(N.  A.,  1872),  and  "  The  Whirlwind"  (N.  A.,  1878).  "The  Young 
Samaritan  "  was  at  the  Centennial  Exhibition  at  Philadelphia  in  1876. 


336     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  '  The  Whirlwind'  should  not  displease  robust  tastes.  Once  the  subject  given,  and 
Mr.  Hartley  has  carried  it  out  well,  albeit  a  little  too  vigorously.  The  spiral  of  the  dra- 
pery, like  a  great  piece  of  kelp,  is  very  cleverly  managed,  and  the  general  pose  of  the 
figure  good.  What  is  most  objectionable  to  our  mind  is  the  open  mouth.  This  intro- 
duces a  second  element  of  horror,  which  might  better  have  been  left  to  be  indicated  by 
the  writhing  figure  and  drapery  alone  Nevertheless,  Mr.  Hartley  may  be  con- 
gratulated on  his  success,  though  it  be  incomplete." —  New  York  Times,  May  20,  1878. 

"Mr.  Hartley's  '  Whirlwind '  is  a  serious,  substantial,  and  thoroughly  artistic  work, 
full  of  epic  passion  under  self-control.  The  management  of  the  drapery  is  exceedingly 
skillful."  —  New  York  Evening  Post,  May  4,  1878. 

Hartzer,  Karl  Ferdinand.  (Ger.)  Born  at  Celle.  Medal  at  Dres- 
den, where  he  studied  in  the  Academy,  and  in  the  atelier  of  Hahnel. 
He  went  to  Munich  in  1858,  and  remained  two  years.  He  then  went 
to  Nuremberg,  visited  Italy,  and  settled  in  Berlin.  Among  his  works 
are  the  marble  statue  of  Thaer  for  Celle,  the  monument  of  Victory 
at  Gleiwitz,  and  in  the  National  Gallery,  Berlin,  a  relief  representing 
"The  United  Arts."  At  Berlin  in  1871  he  exhibited  "Rejected 
Love  "  ;  and  in  1876,  "  Vocal  Music  "  (bronze),  and  "  Cupid  and  a 
Satyr." 

Harvey,  William.  {Brit)  Born  in  Newcastle  (1798  -  1866).  At 
the  age  of  sixteen  he  was  apprenticed  to  Thomas  Bewick,  the  reviver  of 
wood-engraving,  assisting  his  master  in  the  execution  of  the  illustra- 
tions for  the  famous  book  of  "  Fables."  In  1817  he  went  to  London, 
and  became  a  pupil  of  Haydon,  producing  in  1821  his  large  cut  from 
Haydon's  picture,  "  The  Death  of  Dentatus,"  which  is  still  considered 
a  remarkable  engraving,  proofs  of  it  being  very  rare,  and  highly 
prized  by  collectors.  In  1824  Harvey  abandoned  this  department  of 
art,  devoting  his  time  for  over  forty  years  to  designing  for  copper- 
plate and  wood  engravers,  and  during  his  remarkably  industrious 
career  furnishing  a  great  number  of  accurate  and  artistic  drawings. 
Among  the  many  works  illustrated  by  him  may  be  mentioned, 
Shakspere,  "The  Arabian  Nights,"  Northcote's  "Fables,"  "The 
Tower  Menagerie,"  and  "  The  Gardens  and  Menagerie  of  the  Zoologi- 
cal Society." 

Harvey,  Sir  George.  (Brit)  Born  in  Scotland  (1806  - 1876). 
Entered  Trustees  Academy  in  1824,  and  in  1826,  although  still  a  very 
young  man,  was  one  of  the  organizers  and  original  Associates  of  the 
Royal  Scottish  Academy,  of  which  he  was  made  Academician  in  1829, 
and  President  in  1867,  when  he  was  knighted  by  the  Queen.  Many 
of  his  works  are  well  known  through  the  medium  of  engraving. 
Among  these  are,  "The  Battle  of  Drumclog  "  (1836),  "Covenanter's 
Commission"  (1840),  "Highland  Funeral"  (1844),  "The  Curlers," 
"  Past  and  Present,"  "  The  Penny  Bank."  During  the  later  years  of 
his  life  he  devoted  much  of  his  time  to  landscape-painting,  exhibiting 
at  the  Royal  Academy,  London,  in  1866,  "  Glen  Dhu,  Isle  of  Arran"; 
in  1867,  "  The  Mountain  Pool "  ;  in  1869,  "  Glen  Falloch  " ;  in  1871, 
"  School  Dismissing  "  ;  in  1873,  "  Morning  on  Loch  Awe." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  337 


"Harvey's  paintings  were  from  the  first  popular  in  Scotland,  while  their  extreme  so- 
briety gave  them  a  cold  effect  in  English  eyes,  delaying  and  limiting  his  popularity  in 

England  But  through  every  obstacle  those  who  look  for  the  qualities  see  in 

this  painter's  pictures  manly  earnestness,  and  thoughtfulness,  and  true  poetic  feeling, 
well,  if  gravely  expressed."  —  Mrs.  Tvtler's  Modern  Painters. 

"  'The  Curlers  '  [R.  A.,  1873]  shows  the  greatest  possible  variety  of  action  and  atti- 
tude which  the  human  frame  is  capable  of  assuming  in  the  different  poses  into  which 
the  tactics  of  the  game  compel  the  players  to  throw  themselves.  It  will  be  understood 
that  the  variety  of  attitudes  would  render  the  drawing  very  difficult.  This,  however, 
Sir  George  has  accomplished  with  masterly  skill."  —  Art  Journal,  June,  1873. 

Haseltine,  William  Stanley,  N.  A.  (Am.)  Born  at  Philadel- 
phia. He  began  the  study  of  art  under  Weber  in  his  native  city  ; 
later,  he  painted  and  studied  in  Diisseldorf.  He  has  lived  for  many 
years  in  Rome  and  Venice,  devoting  himself  to  landscapes,  particularly 
Italian  and  Normandy  scenes.  He  was  made  a  full  member  of  the 
National  Academy,  New  York,  in  1861.  Three  of  his  earlier  works, 
"  Indian  Rock,  Nahant,"  "  Castle  Rock,  Nahant,"  and  "  A  Calm  Sea, 
Mentone,"  were  in  the  collection  of  John  Taylor  Johnston.  To  the 
Philadelphia  Exhibition  of  1876  he  sent  "  Ruins  of  Roman  Theater, 
Sicily,"  and  "  Natural  Arch  at  Capri."  He  rarely  exhibits  in  the 
National  Academy. 

"  Few  of  our  artists  have  been  more  conscientious  in  the  delineation  of  rocks  than 
Haseltine  ;  their  firm,  superficial  traits  and  precise  tone  are  given  with  remarkable  accu- 
racy. His  pencil  identifies  coast  scenery  with  emphatic  beauty."  —  Tuckerman's  Book 
of  the  Artists. 

Haseltine,  Henry  J.  (Am.)  A  native  of  Philadelphia.  He 
served  with  distinction  in  the  American  Civil  War,  and  at  its  close 
went  to  Italy  in  the  practice  and  study  of  his  profession,  that  of  a 
sculptor.  He  settled  in  Rome  in  1867,  spending  there  the  better  part 
of  his  artistic  life.  Among  his  earlier  works  are,  "  Excelsior  "  (in  the 
collection  of  the  late  Le  Grand  Lockwood),  "  Autumn  Leaves,"  "  Lib- 
erty," "  New  Wine,"  "  Religion,"  and  "  Superstition."  To  the  Phila- 
delphia Centennial  Exhibition  of  1876  he  sent  "Spring  Flowers," 
"  Captivity,"  and  "  Lucretia." 

"  Haseltine  has  executed  several  allegorical  groups  which  indicate  much  inventive 

expression  and  poetical  significance  Telling  different  stories  in  an  ingenious  and 

ideal  way,  these  graceful  forms  of  plastic  art  are  conceived  with  vividness  and  executed 
with  skill. "  —  Tuckerman's  Book  of  the  Artists. 

Hasenclever,  F.  P.  (Ger.)  Born  at  Remschied,  near  Diisseldorf 
(1810  -  1853).  At  the  Johnston  sale  in  New  York,  1876,  three  scenes 
from  the  "  Jobsiade,"  the  "  Departure,"  the  "  Examination,"  and  the 
"  Return,"  sold  for  $  4,200.  These  works  were  illustrative  of  a  cele- 
brated poem  of  student  life,  and  were  formerly  in  the  old  Diisseldorf 
Gallery  of  New  York.  "The  Cellar  Bacchantes"  (18  by  24)  sold 
for  $1,025.  At  the  Munich  Pinakothek  is  "Jerome  Jobs  in  the 
Examination  "  (also  from  the  "  Jobsiade  ")  and  "  A  Man  and  his  Wife 
in  a  Room  lighted  by  the  Moon."  At  the  Wolfe  sale,  New  York,  1863, 
"  Introducing  the  New  Scholar  "  sold  for  $2,550,  and  "Artist  Life  in 
15  v 


338     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Studio  "  for  $  1,425.  Mr.  T.  R.  Butler  of  New  York  has  a  por- 
trait of  J.  W.  Preyer,  by  Hasenclever. 

Hausmann,  Frederic  Karl.  (Ger.)  Bom  at  Hanau,  near  Frank- 
fort, 1825.  Director  of  the  Academy  of  Hanau.  Studied  under  Pelis- 
sier  and  also  at  Antwerp.  His  subjects  are  historical.  "  Galileo  before 
the  Council  of  Constance  "  was  much  praised  at  the  International 
Exhibition  of  1862. 

Hayes,,  Edwin.  (Brit)  A  native  of  Ireland,  he  is  a  member  of 
the  Royal  Hibernian  Academy,  but  has  resided  for  some  years  in  Lon- 
don, belonging  to  the  Institute  of  Painters  in  Water-Colors,  and  con- 
tributing frequently  to  its  exhibitions,  chiefly  marine  views,  among 
others,  "  Dutch  Boats  on  the  Scheldt,"  "  A  Fresh  Gale  off  St.  Ives, 
Cornwall,"  "  Adrift,"  "  Fishing  Lugger  getting  under  Way,"  "  French 
Fishing  Luggers,  Ostend,"  "Fresh  Breeze  off  Portsmouth  Harbor,"  etc 
Among  his  works  in  oil  are,  "  Dutch  Pinks  returning  to  Katwyke  from 
the  Doggerbank,"  "  Over  the  Bar,"  "  The  Lively  Polly,"  and  many 
more  sent  to  the  Royal  Academy,  the  Royal  Scottish  and  Royal  Hiber- 
nian Academies,  and  elsewhere.  His  "  North  Sea  Trawlers  leaving 
Great  Yarmouth  "  was  at  the  Paris  Exposition  of  1878. 

Hayez,  Francisco.  (Ital.)  Born  at  Yenice,  1792.  First  prize  at 
the  Academy  of  Milan.  Pupil  of  Mengotto  and  of  the  Academy  at 
Venice  under  Cicognara.  One  of  the  most  distinguished  modern  Ital- 
ian painters.  Among  his  best  works  are,  "  The  Laocoon,"  "  Carmag- 
nola,"  "  The  Two  Foscari,"  "  Ajax,"  and  "  The  Thirst  of  the  Crusaders." 
The  last  was  purchased  for  the  Royal  Palace  at  Turin.  His  portraits 
are  good.  Hayez  exhibited  his  pictures  in  Paris  at  the  Expositions 
of  1855  and  '67.  His  "  Kiss  of  Juliet "  and  "  The  Sicilian  Vespers  " 
(now  in  Milan)  are  well-known  works,  and  are  much  admired.  Of 
his  "  Marie  Stuart,"  "  Maria  Theresa,"  "  Victor  Pisani,"  and  other 
kindred  subjects,  much  praise  has  been  said.  Hayez  has  received  the 
decorations  of  several  orders. 

Hay  liar,  James.  (Brit.)  Born,  1829.  Entered  the  Royal  Acad- 
emy in  1849.  Went  to  Rome  in  1851,  remaining  some  years  in  the 
Italian  art  centers.  He  first  exhibited  at  the  Royal  Academy,  in 
1851,  a  portrait.  Among  his  earlier  works  are,  "The  Teetotaler  and 
the  Tippler,"  "  Book- Worm  and  Grub,"  "  Birds  of  a  Feather,"  "  Car- 
penter's Workshop,"  "Once  a  Week,"  "A  Stitch  in  Time,"  "Life  or 
Death,"  "  Going  to  the  Drawing-Room,"  and  "  Two 's  Company,  Three 
is  None."  In  1865  he  painted  "  Queen  Elizabeth's  Toothache ";  in 
1866,  "  Miss  Lilly's  Carriage  stops  the  Way  "  ;  in  1867,  "  Miss  Lilly's 
Return  from  the  Ball  "  ;  in  1869,  "  School"  ;  in  1870,  "  The  Rector's 
Little  Daughter"  ;  in  1871,  "The  Eve  of  the  Wedding"  ;  in  1872, 
« Links  in  the  Chain  of  Life "  ;  in  1873,  "  The  Queen,  God  bless 
her  ! "  ;  in  1874,  "  My  Legal  Adviser  "  ;  in  1875,  "  The  Only  Daugh- 
ter "  and  "  The  Thames  at  Pangbourne  "  ;  in  1878,  "  As  Careful  as 
a  Mother  "  and  "  Obstructives."  He  is  a  member  of  the  Society  of 
British  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  339 


"  Hay  liar  appears  to  have  lapsed  in  his  system  of  execution  into  the  ways  of  the  '  blo- 
tesque  school,'  as  Mr.  Ruskin  named  it.  We  trust  he  will  resume  his  earlier  and  more 
careful  manner.  '  A  French  Fisherwoman,'  which  he  exhibited  a  few  years  ago,  was  a 
capital  piece  of  painting."  —  Palgrave's  Essays  on  Art. 

Hays,  William  J.  (Am.)  Born  in  New  York  (1830  -  1875).  In 
1860  Hays  visited  Colorado,  and  was  one  of  the  first  of  our  artists  to 
go  to  the  Rocky  Mountains,  where  he  painted  many  landscapes  with 
deer  and  other  animals.  In  1852  he  exhibited  "  The  Head  of  a  Bull- 
Dog,"  which  at  once  established  his  claim  to  distinction  as  a  painter  of 
the  brute  creation.  Among  his  works  may  be  mentioned,  "  Stam- 
pede," "  Herd  on  the  Moor,"  "  Prairie-Dog  Village,"  "  Dog  in  the 
Field,"  and  "  Noah's  Dove."  His  portrait  of  "  Ossossuag,"  Dr.  Hayes' 
Esquimaux  dog,  and  his  "Adirondack  Brook  Trout"  belonged  to 
John  T.  Johnston,  and  his  "  American  Elk  "  to  Dr.  F.  N.  Otis. 

"Hays  has  visited  the  Far  West,  and  has  made  accurate  studies  of  buffalo,  prairie- 
dogs,  deer,  squirrel,  and  other  wild  animals,  and  some  of  his  portraits  of  the  domestic 
race  are  very  truthful  and  characteristic."  —  Tuckeeman's  Book  of  the  Artists. 

"Although  Mr.  Hays  was  one  of  the  most  able  painters  in  the  country,  his  fame, 
except  among  connoisseurs,  did  not  extend  much  beyond  the  limits  of  his  native  city, 
and  this  arose  from  the  fact  that  of  late  years  he  withheld  his  pictures  entirely  from 
public  exhibitions.  He  was  a  close  student,  and  never  sought  after  academic  honors. 
....  Hays'  sketches  made  during  his  long  trip  to  the  Rocky  Mountains  possess  un- 
usual value  ;  and  those  of  his  animals  of  the  region  are  particularly  spirited,  and 
have  not  been  excelled  by  those  of  any  other  American  painter.  Mr.  Hays'  largest  pic- 
ture, 'The  Wounded  Buffalo,'  has  been  classed  among  the  great  works  of  the  day."  — 
Art  Journal,  April,  1875. 

Hayter,  Sir  George.  (Brit.)  (1792-1871.)  Son  of  Charles 
Hayter,  an  artist  of  some  reputation.  He  entered  the  Royal  Acad- 
emy at  an  early  age.  In  1815  he  received  the  appointment  of  Min- 
iature Painter  to  the  Princess  Charlotte.  He  painted  portraits  in 
Rome  from  1816  to  '19,  and  in  London  from  1819  to  '26,  when  he  re- 
turned to  Italy.  In  1837  he  was  appointed  Portrait  Painter  to  Queen 
Victoria  ;  in  1841  Historical  Painter,  and  received  the  honor  of 
knighthood  in  1842.  He  first  exhibited  at  the  Eoyal  Academy,  in 
1838,  where  he  sent  "  The  Queen  on  her  Throne  in  the  House  of 
Lords,"  a  picture  presented  by  Her  Majesty  to  the  city  of  London. 
His  pictures  include  those  of  many  of  the  nobility  of  England  and  of 
the  various  Courts  of  the  Continent.  Among  Hayter's  historical  pic- 
tures are,  "  The  Trial  of  Lord  William  Russell  at  the  Old  Bailey  in 
1683,"  "  Coronation  of  Victoria,"  "  The  Royal  Marriage,"  "  The  Trial 
of  Qneen  Caroline,"  and  "  The  Meeting  of  the  First  Reformed  Parlia- 
ment."   Many  of  these  have  been  engraved. 

"The  earlier  works  of  this  eminent  painter  [Hayter]  gave  great  promise  of  excellence ; 
but  it  is  the  calamity  of  artists  who  have  been  early  patronized  by  great  personages  to 
abandon  Nature  in  her  simple  forms  and  humble  aspects,  for  subjects  appertaining  to 
state  ceremonials,  court  pageants,  or  Royal  progresses,  suggested  by  courtiers  or  com- 
manded by  sovereigns  or  their  consorts.  Sir  George  Hayter  has  been  much  patronized 
by  the  Queen  and  Prince  Albert."  —  Memoirs  ofiTt'e  Countess  of  Blessington. 


340     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Heade,  Martin  J.  {Am.)  Born  in  Bucks  County,  Pa.  He  began 
his  professional  career  as  a  portrait-painter.  After  two  years  spent  in 
study  and  observation  in  Italy  be  lived  in  the  West,  and  for  some 
time  in  Boston.  Subsequently,  with  Rev.  J.  C.  Fletcher,  he  went  to 
Brazil,  with  the  intention  of  publishing  an  illustrated  book  on  the 
Humming-Birds  of  South  America,  a  work  which  he  was  forced  to 
abandon  after  a  year's  effort  on  account  of  the  difficulties  experienced 
in  the  proper  execution  of  the  chromos.  The  original  designs,  fre- 
cjuently  exhibited,  were  purchased  by  Sir  Morton  Peto,  and  are  now  in 
London.  During  his  stay  in  Brazil  Mr.  Heade  received  at  the  hands 
of  the  Emperor  the  decoration  of  Chevalier  of  the  Order  of  the  Rose. 
He  has  since  made  two  visits  to  the  tropics,  making  many  studies, 
from  which  he  has  painted  his  most  attractive  pictures.  He  has  been 
very  successful  in  his  views  of  the  Hoboken  and  Newburyport  mead- 
ows, for  which  the  demand  has  been  so  great  that  he  has  probably 
painted  more  of  them  than  of  any  other  class  of  subjects.  Among 
his  coast-scenes  the  finest  are,  "  Off  the  California  Coast  "  and  "  Point 
Judith."  John  H.  C.  Gray  and  Mr.  Colgate  have  in  their  possession 
some  of  his  most  important  tropical  scenes.  His  "  Off  the  California 
Coast "  was  at  Philadelphia  in  1876.  His  studio  has  been  in  New 
York  for  some  years. 

"  No  one  of  our  artists  has  a  more  refined  sense  of  beauty,  or  a  more  delicate  feeling 
for  color.  Mr.  Heade  lias  embodied  the  very  soul  of  vernal  bloom  and  tenderness  in  two 
or  three  modest  lovely  pictures  of  apple-blossoms.  We  could  not  have  believed  so 
simple  and  common  an  object  could  be  made  so  suggestive  ;  but  they  give  the  very  key- 
note of  the  season  ;  they  sweetly  hint  not  only  an  orchard  but  a  landscape,  we  seem  to 
inhale  their  odor,  and  see  their  pink  and  white  flakes  quiver  in  the  breeze  of  May  down 
on  the  new  spring  grass. "  —  Tuckerman's  Book  of  the  Artists. 

"  Heade's  specialty  is  meadows  and  coast  views  in  wearisome  horizontal  lines  and  per- 
spective, with  a  profuse  supply  of  hay-ricks  to  vary  the  monotony  of  flatness,  but 
flooded  with  rich  sun-glow  and  sense  of  summer  warmth. "  —  Jarves,  Art  Idea. 

"  There  is  another  name  that  we  shall  add  to  the  list  of  great  masters  [in  American 
landscape  art],  that  of  M.  J.  Heade.  A  picture  of  large  size  is  now  on  exhibition  on 
Regent  street,  that  will  justify  this  high  praise.  It  depends  mainly  on  its  art  merit ;  for 
the  subject,  although  original  and  startling,  is  not  interesting.  It  would  be  difficult  to 
find  in  the  whole  range  of  art  better  painting  ;  with  simple  breadth  of  treatment  every 
part  is  minutely  finished.  The  scene  is  in  Jamaica,  the  colony  so  long  favored,  now  so 
hardly  used,  and  it  represents  little  more  than  the  mountains,  folded,  so  to  say,  one 
above  another."  —  Art  Journal,  July,  1873. 

Healy,  G.  P.  A.  (Am.)  Born  in  Boston,  1808.  Has  resided  in 
Europe  principally  since  1836,  practicing  his  art  in  Paris  and  Rome. 
His  American  home  is  Chicago.  He  won  a  third-class  medal  at  the 
Paris  Salon  in  1840,  and  a  second-class  medal  in  1855,  when  he 
exhibited  his  "  Franklin  urging  the  Claims  of  the  American  Colonies 
before  Louis  XVI."  Among  his  portraits  of  eminent  men  are  those 
of  Webster  (burned  at  Marshfield  in  1878),  Clay,  Calhoun,  Guyot 
(in  the  Smithsonian  Institute,  Washington),  William  H.  Seward  (in 
the  State  Library,  Albany),  and  those  of  several  of  the  ex-Presidents 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  341 


of  the  United  States  (in  the  Capitol  at  Washington).  His  "  Web- 
ster's Reply  to  Hayne  "  (in  Faneuil  Hall,  Boston)  contains  one  hun- 
dred and  thirty  portraits.  He  sent  to  the  American  Centennial 
Exhibition  of  1876  his  portraits  of  E.  B.  Washbume,  Lord  Lyons, 
Thiers,  the  Princess  of  Roumania,  and  several  more  ;  and  to  the 
Paris  Salon  of  1878,  a  portrait  of  General  Grant  and  one  of  Mile.  L. 

Healy  sometimes  sends  his  works  to  the  annual  exhibitions  of  the 
National  Academy  of  Design,  of  New  York,  of  which  he  is  an  Hon- 
orary Member. 

"  Healy  has  done  good  things  in  historical  composition,  and  forcible  things  in  por- 
traiture. He  has  much  talent,  but  he  is  deficient  in  the  language  of  color."  —  Jarves, 
Art  Idea. 

"  Healy  is  one  of  the  best  American  portrait-painters  of  the  French  school."  — Mrs. 
Tytler's  Modern  Painters. 

"  Rugged,  forcible,  and  characteristic,  the  portraits  of  Healy,  when  the  subject  is 
favorable  and  the  artist  in  earnest,  are  among  the  best  of  their  kind.  The  vigor  of 
execution  apparent  in  the  best  works  of  Healy  is  not  less  remarkable  than  his  facility 
and  enterprise;  his  likenesses  often  want  delicacy,  but  seldom  lack  emphasis." — • 
Tuckerman's  Boole  of  the  Artists. 

Heaphy,  Thomas.  (Brit.)  Died  in  1873.  Son  of  a  water-color 
artist  of  the  same  name.  He  began  life  as  a  portrait-painter,  and  was 
very  successful,  numbering  among  his  sitters  many  distinguished  per- 
sons. Upon  the  introduction  of  photography  he  gradually  withdrew 
from  this  branch  of  the  profession,  devoting  himself  to  subjects  of 
another  kind.  In  1850  he  exhibited  at  the  Royal  Academy,  "  Infant 
Pan  "  ;  in  1853,  "  The  Parting  of  Catherine  and  Bianca  "  ;  in  1864, 
"  Palissy  the  Potter  taken  by  his  Townspeople  for  a  Coiner"  ;  in  1865, 
"  Lord  Burleigh  showing  her  New  Home  to  his  Peasant  Bride  "  ;  in 
1872,  "  Lizzie  Farren,  afterwards  Countess  of  Derby,  waiting  at  the 
Prison  Bars  with  her  Father's  Breakfast  "  ;  and  "  Mary  Stuart  at  Tut- 
bury  Castle."  His  "  Unexpected  Inheritance "  was  at  the  British 
Institution  in  1865. 

Hebert,  Antoine-Auguste-Ernest.  (Fr.)  Born  at  Grenoble, 
1817.  Member  of  the  .Institute  and  Commander  of  the  Legion  of 
Honor.  Director  of  the  Academy  of  France  at  Rome,  1866.  This 
painter  was  educated  at  the  Lycee  of  Grenoble,  and  although  fond  of 
drawing  and  of  art  when  very  young,  he  also  loved  study,  and  brought 
with  him  to  Paris,  in  1835,  his  university  diplomas.  He  entered 
l'Ecole  de  Droit,  because  his  family  wished  him  to  study  law,  but  he 
also  worked  in  the  studio  of  David  d' Angers,  the  sculptor,  and  was 
often  with  Delaroche,  who  urged  him  to  paint.  He  worked  much  by 
himself,  and  in  1839  sent  to  the  Salon  "  Tasso  in  Prison,"  which  was 
purchased  for  the  Gallery  at  Grenoble.  This  success  decided  his 
career,  and  he  entered  l'Ecole  des  Beaux- Arts,  where  he  soon  gained 
the  grand  prix  de  Rome.  The  same  year  he  finished  his  law  studies 
and  took  the  oath  as  barrister.  His  pictures  excited  no  enthusiasm 
until  1850,  when  "The  Malaria"  (a  Roman  family  flying  from  the 


342     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


contagion),  now  at  the  Luxembourg,  attracted  much  notice.  In  1854 
"  The  Kiss  of  Judas"  was  also  purchased  for  the  Luxembourg  ;  in 
1859  "  Les  Cervarolles  "  (Italian  peasant-girls)  was  added  to  those 
already  at  the  Luxembourg  ;  and  in  1875  M.  d'Attainville  bequeathed 
to  the  same  gallery  a  portrait  of  Madame  d'Attainville,  by  Hebert.  In 
1863  he  exhibited  "  Young  Girls  at  a  Well,"  belonging  to  the  Empress 
Eugenie,  and  "  Pasqua  Maria,"  belonging  to  the  Baroness  James  de 
Eothschild.  In  1877  he  exhibited  "  The  Wood  Muse "  ;  in  1875, 
three  portraits  ;  in  1873,  "  Madonna  Adolorata,"  belonging  to  M. 
Paschkoff,  and  "  The  Knitter,"  belonging  to  M.  Oppenheim  ;  in  1870, 
"  The  Morning  and  Evening  of  Life  "  (sold  in  London  in  1876  for 
£  682)  and  "  The  Popular  Italian  Muse."  At  the  Mechanics'  Fair, 
Boston,  1878,  was  exhibited  his  "  Water- Carrier,"  belonging  to  H.  P. 
Kidder. 

"  M.  Hebert  remains  at  home  to  nurse  his  consumptives.  He  has  created  for  himself 
outside  of  all  the  schools,  except  perhaps  the  school  of  medicine,  a  style  original,  sym- 
pathetic, touching,  which  succeeds,  and  deserves  to  succeed,  but  which  it  cannot  be 
safe  to  carry  to  excess.  Since  his  celebrated  picture  of  '  The  Malaria,'  the  popularity  of 
which  is  not  nearly  exhausted,  M.  Hebert,  from  gratitude  or  some  other  motive,  has 
cultivated  disease  as  others  cultivate  health.  He  draws  reasonably  well,  his  coloring  is 
fine,  his  art  is  full  of  sentiment,  but  it  is  not  healthy.  If  I  had  in  my  room  one  of  M. 
Hebert's  pictures,  I  could  not  help  looking  at  it  frequently,  and  I  should  catch  fever. 
.  .  .  .  It  is  easy  to  criticise  the  art  of  M.  Hebert ;  he  may  be  reproached  with  a  some- 
what livid  face  here  and  there,  with  ground  wanting  in  solidity  and  homogeneity,  but 
nevertheless  he  is  duly  appreciated."  —  Edmond  About. 

"  As  painter,  he  is  a  eolorist ;  as  artist,  a  dreamer,  but  at  the  same  time  a  seeker  after 
reality.  His  genre  pictures,  always  directly  inspired  by  nature,  have  little  relation  to 
the  traditions  of  great  historical  painting.  He  is  strongly  imbued  with  modern  ideas, 
and  the  friendship  which  unites  him  to  our  great  landscape-painter,  Jules  Dupre,  has 
singularly  modified  the  teaching  he  received  at  l'Ecole  des  Beaux-Arts,  and  enlarged  the 
circle  of  his  ideas.  He  has  no  wish  to  conceal  the  fact,  as  he  writes  to  me,  in  a  letter 
dated  the  20th  of  February,  1875  :  '  You  may  say  that  my  intercourse  with  Jules  Dupre, 
on  my  return  from  Rome,  has  revealed  to  me  an  unknown  region  of  academic  painting, 
and  that  I  am  happy  to  give  public  expression  to  my  gratitude.' 

"  Contemporaries  often  deliver  verdicts  which  are  not  confirmed  by  posterity.  Fash- 
ions change,  tastes  alter,  and  ideas  are  modified  ;  some  reputations  grow  with  time, 
whilst  others,  after  having  shone  with  an  ephemeral  luster,  gradually  fade,  until  they 
disappear  entirely.  We  venture  to  think,  however,  that  M.  Hebert's  pictures  will  in  the 
future  keep  the  high  rank  now  assigned  to  them  by  public  opinion  ;  because  the  charm 
found  in  them  is  due  to  two  causes  which  may  stand  the  test  of  time,  —  earnest  study 
and  a  serious  originality."  —  Rene  Menard,  The  Portfolio,  April,  1875. 

H^douin,  Edmond.  (Fr.)  Born  at  Boulogne- sur-Mer,  1819. 
Chevalier  of  the  Legion  of  Honor.  Studied  under  Celestin  Nanteuil 
and  Paul  Delaroche.  Paints  landscapes  and  genre  subjects,  and  has 
received  medals  for  his  engravings  and  lithographs.  At  the  Luxem- 
bourg is  his  "  Gleaners  of  Chambaudoin  "  (1857).  At  the  Salon  of 
1877  he  exhibited  eight  etchings  of  varied  subjects  ;  in  1876,  "  A 
Peasant- Woman  of  the  Lower  Pyrenees  "and  eight  etchings,  six  being 
illustrations  for  "  The  Sentimental  Journey"  ;  in  1875,  "  The  Market 
of  Pigs  at  Saint- Jean-de-Luz " ;  and  in  1878,  "An  Old  Spanish 
Woman." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  343 

Heilbuth,  Ferdinand.  (Ger.)  Born  at  Hamburg.  Chevalier  of 
the  Legion  of  Honor.  Jules  Claretie,  in  his  "Peintres  et  Sculp- 
teurs,"  says  of  Heilbuth  and  other  Germans,  that  they  had  received 
their  education  in  Paris  ;  had  gained  French  medals  and  worn  French 
decorations  ;  had  been  loved,  honored,  and  adopted  by  the  French  ; 
but,  in  the  day  of  struggle,  they  were  suddenly  inspired  by  a  patriot- 
ism which  has  led  them  to  desert  their  accustomed  place  and  to 
exhibit  their  works  elsewhere.  At  the  Luxembourg  is  his  "  Le 
Mont-de-Piete  "  (1861).  In  1871  he  exhibited  at  the  Royal  Academy, 
London,  "  Spring  "  and  "  On  the  Banks  of  the  Seine  "  ;  also,  at  Ber- 
lin, in  1871,  "  The  Autumn  of  Love."  Among  his  works  are,  "  The 
Antechamber  of  the  Cardinal,"  "Job,"  "The  Promenade,"  "The 
Vestibule,"  etc.  At  the  Glasgow  Fine  Art  Loan  Exhibition,  1878, 
was  a  picture  by  Heilbuth,  belonging  to  A.  Maxwell,  called  "By  the 
Thames."  "  A  lady,  in  a  light-blue  dress,  reclines  in  the  grassy  fore- 
ground.   Behind  her  the  river,  and  trees  across  the  background." 

"  In  Heilbuth,  German  Biederlceit  seems  to  have  survived  a  long  course  of  Parisian 
experience.  Of  his  four  pictures,  three,  entitled  '  In  the  Fields,'  '  On  the  Sea,'  '  On  the 
River,'  are  graceful  figures,  two  of  girls,  one  of  a  child,  in  healthy,  innocent  enjoyment 
of  the  free  air,  the  green  grass,  the  growing  corn,  the  quiet  of  the  woodland.  There  is 
none  of  that  suggestion  of  perfumed  boudoir  and  overheated  ballroom  which  Tissot 
awakens  in  us.  The  fourth  picture  presents  a  cheery  old  Cardinal,  who  in  his  red 
robes  —  their  color  balanced  by  a  broad  expanse  of  sandy  ground  and  a  background  of 
green  trees  —  stands  pleasantly  conversing  with  a  group  of  shy  Roman  orphans  in  the 
white  robes  of  a  religious  foundation,  and  their  attendant  priest.  The  picture  suggests 
the  paternal  feeling  in  the  kindly  old  man,  which  these  white-robed  orphans  can  never 
know  from  the  parents  they  have  lost. "—  London  Times. 

Heim,  Francois  Joseph.  (Fr.)  Born  at  Belfort  (1787-1865). 
Member  of  the  Institute,  and  Officer  of  the  Legion  of  Honor.  Stud- 
ied at  Paris  under  Vincent,  and  took  the  grand  prix  de  Rome  in  1807. 
His  "Jacob  arrived  in  Mesopotamia"  (1814)  gained  a  first-class 
medal,  and  was  sent  by  the  government  to  the  Museum  of  Bordeaux. 
His  "  Defence  of  the  Chateau  of  Burgos  in  1812 "  is  at  Versailles. 
His  works  are  at  the  Grand-Trianon,  the  churches  of  Saint-Gervais, 
Notre-Dame  de  Paris,  Saint-Denis,  and  others.  Heim  also  executed 
some  large  decorative  works,  among  them  the  ceiling  of  the  Museum 
of  Charles  X.,  at  the  Louvre.  In  1859  he  sent  to  the  Salon  sixty- 
four  portraits  of  members  of  the  Institute,  which,  after  his  death, 
were  presented  by  his  widow  to  the  Imperial  Museum. 

Helfft,  Julius  Eduard  Wilhelm.  (Ger.)  Born  at  Berlin,  1818. 
Royal  Professor  of  the  Berlin  Academy,  where  he  studied,  and  also 
under  W.  Schirmer.  In  1843  he  was  sent  to  Italy  by  Frederick 
William  IV.,  to  make  some  pictures  of  views  in  and  about  Florence. 
Helfft  also  visited  Rome,  Naples,  and  Sicily.  After  his  return  he 
was  appointed  professor,  but  he  continued  to  make  frequent  journeys 
for  the  purpose  of  sketching.  At  the  National  Gallery,  Berlin,  are 
his  'k  Sicilian  Con  vent- Yard  "  and  the  "  Palace  of  the  Doge  at  Venice." 


344     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Hellrath,  E.  (Ger.)  Munich.  At  the  Johnston  sale  in  New- 
York,  1876,  "  The  Road  to  the  Convent "  (40  by  57)  sold  for  $  1,275. 

Hemsley,  William.  (Brit.)  Born,  1819.  Brought  up  to  the 
profession  of  his  father,  who  was  an  architect,  he  turned  his  attention 
to  painting  at  an  early  age,  receiving  no  instruction  in  his  art.  He 
has  been  a  frequent  exhibitor  at  the  galleries  of  the  Royal  Academy 
and  British  Institution.  Among  his  earlier  works  are,  "  A  Pinch 
from  Granny's  Snuff-Box,"  "Come  Along,"  "The  Rustic  Artist," 
"  Sketching  from  Nature/'  etc.  In  1862  he  sent  to  the  Royal  Acad- 
emy, "  A  Dangerous  Playmate";  in  1864,  "  Shrimpers "  ;  in  1868, 
"  Reading  the  News  "  ;  in  1872,  "  Welsh  Children"  ;  in  1873,  "  For 
the  Broth  "  ;  in  1874,  "  The  Wanderer's  Boy."  To  the  Society  of 
British  Artists,  of  which  he  has  been  a  member  for  some  time,  he 
contributed  in  1877,  "  Granny's  Charge  "  and  "  Feeding- Time  "  ;  in 
1878,  "  The  Impenitent "  and  "  Bread  and  Butter,"  the  last  in  water- 
colors. 

Henderson,  Joseph.  (Brit.)  Born  in  Perthshire,  1832.  He 
studied  art  in  the  Royal  Scottish  Academy  at  Edinburgh,  under 
Robert  Scott  Lauder  and  others.  He  opened  a  studio  in  Glasgow  in 
1852,  where  he  still  resides.  In  1863  he  was  elected  a  member  of  the 
Glasgow  Institute  of  Fine  Arts  ;  in  1877,  a  member  of  the  Scottish 
Water-Color  Society.  He  began  his  career  by  the  painting  of  por- 
traits and  genre  pictures,  but  has  of  late  years  devoted  himself  to 
marine  views  with  marked  success.  His  first  portrait,  one  of  himself, 
was  exhibited  in  1853.  Among  the  more  important  of  his  works 
are,  "  A  Lively  Haul,"  at  the  Royal  Academy  in  1875  ;  "  Where 
Breakers  roar,"  exhibited  in  Glasgow  in  1874  ;  "  Glen  Sannox,"  be- 
longing to  William  Collins,  Lord  Provost  of  Glasgow  ;  etc.  To  the 
Royal  Academy,  in  1878,  he  sent  "  Weeding  the  Garden"  and  "Un- 
der the  Sand- Hills"  ;  to  the  Royal  Scottish  Academy,  the  same  year, 
he  contributed  "  A  Breeze  from  the  South  Ayrshire  Coast,"  "  Whelk- 
Gatherers,"  and  "  Harvest  in  the  West  Highlands." 

"  'Where  Breakers  roar '  is  magnificent.  The  amplitude  of  the  surrounding  sea,  with 
the  mountains  looming  in  the  distance,  awes  the  heart  like  a  choral  psalm  ;  while  in 
'  The  Eeturn  from  Fishing '  the  twilight  deepening  over  the  expanse  of  water,  with  the 
small  sailing  craft  in  the  foreground,  is  a  soothing  leaflet  from  the  great  book."  —  Art 
Journal,  March,  1874. 

Henneberg,  Rudolf  Friedrich.  (Ger.)  Born  at  Brunswick 
(1826-1876).  Member  of  the  Berlin  Academy.  Medals  at  Paris, 
Berlin,  and  Vienna.  Studied  at  Antwerp  Academy  and  under  Cou- 
ture in  Paris.  Lived  two  years  in  Rome,  and  visited  the  principal 
cities  of  Italy,  making  many  copies,  especially  from  Titian,  and  occu- 
pying himself  principally  with  quattrocentisti  matters.  Leaving  Italy 
he  passed  some  time  in  Munich,  and  then  again  visited  Paris  and 
Berlin.  His  health  failed,  and  a  journey  to  Italy  not  benefiting  it, 
he  returned  to  Brunswick  to  die.    At  the  Villa  Warschauer  at  Char- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  345 


lottenburg  he  painted  frescos  representing  German  patriotic  scenes. 
At  the  National  Gallery,  Berlin,  is  his  "  Fortune-Hunting/'  which 
was  sent  to  the  Paris  Exposition  of  1878. 

Henner,  Jean-Jacques.  (Fr.)  Born  at  Bernwiller.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Drolling  and  Picot.  At  the 
Salon  of  1877  he  exhibited  "St.  John  Baptist"  and  "The  Even- 
ing" ;  in  1876,  "The  Dead  Christ  "  and  a  portrait ;  in  1875,  two  por- 
traits and  a  "  Naiad  "  ;  etc.  At  the  Luxembourg  are  his  pictures  of 
"  The  Chaste  Susanna  "  (1865),  "  An  Idyl,"  "  The  Good  Samaritan  " 
(1874),  and  a  "  Naiad  "  (1875).  He  sent  to  the  Salon  of  1878  "A 
Dead  Christ "  and  "  The  Magdalene."  The  last  was  much  praised  by 
Roger  Ballu  in  the  "  Gazette  des  Beaux-Arts,"  July,  1878,  who  says  :  — 

"  Let  us  rejoice  that  we  have  this  chef-d'oeuvre  I  How  can  we  describe  the  ineffable 
poesy  of  this  figure  modeled  in  full  light,  the  flesh  of  which  has  the  agreeable  brilliancy 
of  a  white  camellia  opening  itself  to  the  sun.  '  In  what  pure  snow  at  the  summit  of  the 
glaciers '  (as  the  poet  says),  has  Henner  found  this  beautiful,  flowing  pate  of  which  he  has 
made  a  feminine  nudity  ?  You  may  accuse  me  of  enthusiasm  if  you  wish,  but  I  was 
ravished  at  the  sight  of  this  Magdalene  ;  it  might  take  its  place  in  a  museum  and 
proudly  regard  a  Correggio.  We  have  admired  this  painter  a  long  time  ;  now  he  has  sur- 
passed himself." 

Hennessy,  William  J.,  N.  A.  (Brit.- Am.)  Born  in  Thomastown, 
Kilkenny,  Ireland,  1839,  and  taken  to  New  York  with  his  family  in 
1849.  In  1856  he  entered  the  National  Academy,  residing  in  New 
York  until  1870,  when  he  went  to  London,  where  his  studio  now  is. 
He  was  elected  an  Associate  of  the  National  Academy  in  1862,  and 
Academician  the  following  year.  He  has  been  a  member  of  the  Artists' 
Fund  Society  of  New  York  since  its  organization,  and  is  an  Honorary 
Member  of  the  American  Society  of  Painters  in  Water-Colors.  He 
has  exhibited  at  the  National  Academy,  the  Royal  Academy,  the  Gros- 
venor  and  Dudley  Galleries,  and  in  Liverpool  and  Manchester.  Among 
his  more  important  works  owned  in  America  are,  "  Springtime  "  and 
"  In  Memoriam  "  (the  property  of  Edwin  Booth),  "  The  Wanderers  " 
(belonging  to  Mr.  Riggs),  "  On  the  Sands  "  (to  J.  R.  Osgood),  and 
"  A  By-Path,  Normandy,"  in  water-color  (to  Mrs.  E.  K.  Post).  Since 
his  residence  in  England  he  has  painted  "Autumn,  —  the  New  Eng- 
land Hills "  (belonging  to  Baroness  Burdett-Coutts),  "  A  Summer 
Sea,"  "  The  Sea  Belle,"  "  On  the  Way  to  the  Fete,"  "  Les  bons  amis," 
and  "  An  Evening  on  the  Thames  "  (to  Mr.  Harry  Taylor),  "  In  the 
Twilight,"  "Morning,  —  Edge  of  the  Forest,"  and  "The  Gleaner's 
Return,"  water-color  (to  Mrs.  E.  W.  Taylor),  "  A  Gypsy  Flower- 
Girl"  and  "  New  England  Barberry-Pickers  "  (to  E.  Hermon,  M.  P.), 
"Springtime,"  water-color  (to  Moncure  D.  Conway),  "By  the  River" 
(to  William  Neill),  "Indian  Summer,  New  England,"  "Summer 
Days,"  "  An  Artist's  Holiday,"  "  Notre-Dame  des  Flots,"  and  "  Drift- 
ing" and  "  The  Votive  Offering  "  (to  Mr.  Tom  Taylor). 

"  Mr.  Hennessy  is  a  hard  student  and  industrious  illustrator.    Though  his  pictures 
are  sometimes  deficient  in  vitality  of  tone  and  purity  of  color,  they  manifest  no  ordinary 
15* 


346     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


facility  in  that  kind  of  artistic  aptitude  which  enables  the  pencil  to  outrival  the  pen  in 
telling  a  story."  —  Tuckerman's  Book  of  the  Artists. 

"  'A  Street  Ballad '  is  a  distinct  advance  upon  what  Mr.  Hennessy  has  lately  exhibited. 
There  is  about  all  this  painter  does  the  impress  of  taste  and  feeling,  but  too  often  the 
expression  mars  the  first  idea.  He  has  more  than  once,  as  in  the  Academy  of  last 
season,  attempted  what  lay  clearly  beyond  his  present  technical  resources,  and  as  a  con- 
sequence, the  result  has  been  calculated  to  convey  an  unjust  and  inadequate  impression 
of  this  artist's  merits.  In  this  little  study  of  a  street  singer  wandering  with  a  child  in 
her  arms,  Mr.  Hennessy  has  achieved  greater  success.  The  expression  is  truthful  and 
unrestrained,  and  the  painting  is  executed  with  a  satisfactory  regard  for  beauty  of 
colors."  —  Art  Journal,  1874. 

Mr.  Hennessy's  "  Summer  Evening  on  the  Thames  "  was  engraved 
in  "L'Art,"  October  6, 1878,  and  Mr.  J.  Comyns  Carr  wrote  of  it  in  that 
journal:  — 

"  A  simple  and  large  style  brings  out  marvelously  well  the  simplicity  of  the  subject. 
Hitherto,  Mr.  Hennessy  has  shown  a  tendency  to  exaggerate  the  opalescent  hues  of 
twilight,  at  the  risk  of  imparting  a  twinkling  glitter  to  the  most  delicate  gradations  of 
light.  This  habit  he  has  conquered,  and  the  success  of  his  recent  efforts  proves,  to  his 
honor,  that  it  was  the  carelessness  of  custom  rather  than  a  willful  mistake.  This  view 
on  the  river,  with  its  heavily  laden  barges  floating  softly  down  with  the  stream,  is  dis- 
tinguished not  only  by  truth  of  general  effect,  but  also  by  that  accuracy  in  the  obser- 
vation of  details  which  alone  can  fix  an  impression  and  stamp  its  real  character  on 
the  scene  selected  for  painting." 

Henriquel-Dupont,  Louis  Pierre.  (Fr.)  Born  at  Paris,  1797. 
Member  of  the  Institute,  and  Officer  of  the  Legion  of  Honor.  This 
very  eminent  engraver  studied  under  Pierre  Guerin  and  Bervic.  His 
engravings  are  numerous,  and  embrace  the  works  of  ancient  and  mod- 
ern masters.  His  reproduction  of  the  "  Hemicycle,"  after  Paul  Dela- 
roche,  cost  him  ten  years  of  labor,  and  is  one  of  his  celebrated  works. 
Henriquel  has  sometimes  made  etchings  and  also  a  few  works  in  aqua- 
tinta.  Among  his  later  works  are,  "  The  Disciples  at  Emmaus,"  after 
Paul  Veronese  ;  "  Moses,"  after  Paul  Delaroche  ;  "  The  Marriage  of 
Saint  Catherine,"  after  Correggio  ;  etc. 

Henry,  Edward  L.,  N.  A.  {Am.)  Born  in  South  Carolina,  1841. 
He  displayed  a  marked  taste  for  art  as  a  youth,  studying  in  New  York, 
in  the  Academy  of  Philadelphia,  and  later  in  Paris  for  two  years 
under  different  masters,  but  not  long  enough  in  any  particular  school 
to  be  strongly  influenced  by  its  style.  He  was  for  a  short  time  under 
Courbet.  His  professional  life,  with  the  exception  of  about  five  years 
passed  in  Europe,  he  has  spent  in  New  York.  He  was  elected  a 
member  of  the  National  Academy  in  1870.  The  first  important  work 
of  Henry's  which  attracted  attention  was,  "  The  Eail way- Station  of  a 
New  England  Road,"  in  the  Johnston  Collection,  sold  in  1876  for  $530 
to  J.  W.  Garrett,  President  of  the  Baltimore  and  Ohio  Railroad.  He 
has  painted  numbers  of  interiors  of  old-fashioned  colonial  life  in 
America,  of  which  the  "  Old  Corner  Cupboard,"  engraved  for  Scrib- 
ner's  Magazine,  is  a  good  example.  His  "  City  Point,  Va.,  —  Grant's 
Headquarters  "  is  in  the  Union  League  Club,  New  York.  "  The  An- 
cestral Home  "  and  "  Off  for  the  Races  "  belong  to  Fairman  Rogers  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  347 


Philadelphia  ;  his  "  Battle  of  Germantown,  1777,"  to  William  Astor 
of  New  York  ;  "  Departing  for  the  Seat  of  War,"  to  Charles  E.  Greg- 
ory ;  "  The  Meeting  of  Washington  and  Rochambeau,"  to  W.  H. 
Raynor  ;  and  the  "  Reception  to  Lafayette,"  to  Samuel  Chew,  Ger- 
mantown. He  has  contributed  regularly  to  the  New  York  National 
Academy  for  many  years  ;  "  The  Middle  Dutch  Church,  Fulton  St.," 
"  The  Invalid,"  "  Interior  of  a  Library,"  "  North  Porch,  Cathedral  of 
Bergamo,"  "  The  Little  Chicks,"  "  Interior  of  an  Old  English  Man- 
sion," "  A  Paris  Diligence,"  "  The  Departure  of  the  Brighton  Coach," 
being  some  of  his  pictures  exhibited.  To  the  Paris  Exposition  of 
1878  he  sent  "  Off  for  the  Races." 

"  E.  L.  Henry,  who  approaches  in  the  delicacy  of  his  finish  and  in  the  brilliancy  of 
coloring  in  his  pictures  nearer  to  the  style  of  Meissonier  than  any  other  artist  in  this 
country,  has  recently  painted  an  interior  of  the  olden  time,  bearing  the  somewhat  un- 
meaning title,  '  The  Peace  which  the  World  cannot  give.' ....  The  decoration  of  these 
objects  is  painted  with  marvelous  care,  and  this  same  minuteness  of  finish  is  again  shown 
in  the  portrait  which  hangs  over  the  chimney-piece."  —  Art  Journal,  April,  1875. 

"  Mr.  Henry  exhibited  *  The  Old  Clock  on  the  Stairs  '  and  '  A  Morning  Call  in  1800/ 
both  very  characteristic  of  this  artist's  cheerful  humor  and  elaborate  work.  Mr.  Henry's 
style  is  often  ragged  and  unskillful,  but  his  aim  is  a  compensation,  and  he  attains  happily 
the  sentiment  of  olden  times."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial 
Exhibition  of  1876. 

Herbert,  John  Rogers.,  R.  A.  (Brit.)  Born,  1810.  Became  a 
pupil  at  the  Royal  Academy  in  1826.  Studied  in  Italy.  Originally 
jjainted  portraits  and  designs  for  book  illustrations.  His  first  work  of 
importance  was  "The  Appointed  Hour."  He  exhibited  his  "Brides 
of  Venice  "  in  1839,  his  "  Christ  and  the  Woman  of  Samaria "  in 
1843,  "  St.  John  the  Baptist  reproving  Herod  "  in  1848,  and  the  "Vir- 
gin Mary,"  property  of  the  Queen,  in  1860.  He  was  elected  an  Asso- 
ciate of  the  Royal  Academy  in  1841.  and  Academician  in  1846,  when 
he  received  a  commission  to  paint  the  frescos  in  the  new  Parliament 
House,  executing,  among  others,  "  Moses'  Descent  from  Sinai,"  "  King 
Lear,"  and  "  Human  Justice."  In  1862  he  sent  to  the  Royal  Acad- 
emy, "  To  Labor  is  to  Pray  "  ;  in  1868,  "  The  Valley  of  Moses"  ;  in 
1870,  "The  Bay  of  Salamis"  ;  in  1871,  "All  that's  Bright  must 
Fade  "  ;  in  1873,  "  Mary  Magdalene  at  the  Foot  of  the  Cross  "  ;  in 
1874,  "  The  Adoration  of  the  Magi" ;  in  1878,  "David  while  a  Shep- 
herd at  Bethlehem "  and  "  Our  Lord  after  the  Resurrection."  In 
1870  Mr.  Herbert  was  elected  Foreign  Member  of  the  Academy  of 
Fine  Arts,  Institute  of  France. 

"We  cannot  concede  our  impressions  that  as  a  veritable  representation  of  a  given 
event,  Mr.  Herbert's  fresco  ['  Moses  returning  from  the  Mount ']  completely  fails. 
But  at  the  same  time  we  would,  in  conclusion,  remind  our  readers  once  more,  not  only  of 
the  worth  of  his  conscientious  labors  in  other  respects,  but  of  the  amazing,  the  almost 

insuperable  difficulties  of  this  subject  There  is  indeed  much  which  does  credit  to 

the  painter.  There  is  drawing,  if  not  powerful  yet  more  careful  than  the  English  school 
generally  reaches  ;  a  well-balanced  distribution  of  masses,  with  a  skillful  conduct  of  the 
lines  and  as  elaborate  a  study  of  Oriental  dress  and  of  characteristic  figures  as  could  be 
made  by  a  painter  who  has  not  visited  the  East."  —  Palgrave's  Essays  on  Art. 


348     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Herbsthoffer,  Charles.  (Hungarian.)  Born  at  Presburg.  Died 
at  Paris,  where  he  resided.  Medal  at  Vienna  in  1873.  At  the  Salon 
of  1876  he  exhibited  "After  the  Pillage  "  and  "  Les  Convnlsionnaires 
sur  le  tombeau  du  diacre  Paris,  dans  le  cimetiere  de  Saint- Medard." 
At  the  Johnston  sale,  New  York,  1876,  "  The  Visit  to  the  Jewish 
Grandparents  "  (11  by  14)  sold  for  $  650. 

Herdman,  Robert.  (Brit.)  A  native  of  Perthshire,  living,  and 
practicing  his  profession,  at  present,  in  Edinburgh.  He  devotes  him- 
self to  subjects  relating  to  the  history  and  romance  of  Scotland,  and  to 
the  portrayal  of  Scottish  and  Italian  peasant-life.  He  is  a  member  of 
the  Royal  Scottish  Academy,  exhibiting  there  and  in  London.  Among 
his  works  are,  "  The  Covenanters,"  "  Mary  Queen  of  Scots  and  John 
Knox,"  "  The  Abdication  of  Mary  Queen  of  Scots,"  "  A  Modern  Ro- 
man," "A  Reverie,"  "Lucy  Ashton,"  "  The  Pleasures  of  Hope,"  etc. 
His  portrait  of  Thomas  Carlyle  was  at  the  Philadelphia  Exhibition  of 
1876,  and  a  portrait  of  Mrs.  Shand  at  Paris  in  1878. 

"  Herdman's  '  Jeanie  and  Eme  Deans  in  the  Prison  '  [R.  A.,  1874]  is  a  touching  tran- 
script of  a  familiar  episode.  Effie's  tearful  countenance  moves  to  deep  sympathy,  and 
Jennie  is  the  plain  Scottish  lassie  of  the  novelist,  exempt  from  all  the  ridiculous  embel- 
lishment with  which  in  other  hands  we  have  seen  her  clothed."  —  Art  Journal. 

Hereford,  Laura.  (Brit.)  (1831  -  1870.)  The  first  woman  to 
whom  the  schools  of  the  Royal  Academy  were  opened,  she  became  a 
pupil  of  that  institution  in  1861  or  '62,  and  sent  to  the  Exhibition  of 
1864,  "A  Quiet  Corner";  in  1865,  "  Thoughtful";  in  1866,  "Brother 
and  Sister";  in  1867,  "  Margaret"  ;  etc. 

Hering,  George  E.  (Brit.)  (1806-187.9.)  Hering  was  educated 
in  Germany,  and  intended  for  mercantile  pursuits.  He  resolved,  how- 
ever, to  devote  himself  to  art,  and  studied  in  Italy  and  in  the  Bavarian 
schools,  settling  in  London,  and  exhibiting  landscapes  frequently  at 
the  Royal  Academy.  He  sent,  in  1860,  "  Morning  on  Lake  Lugano  "; 
in  1865,  "  Amalfi  ";  in  1868,  "  The  Head  of  the  Glen  ";  in  1869,  "  The 
Old  Red  Sandstone  Cliffs";  in  1872,  "  Sunset  after  a  Storm";  in  1873, 
"  The  Outskirts  of  a  Wood";  in  1875,  "  Kildonan  in  1876,  "  Wood- 
land Waters";  in  1878,  "  Shining  after  Rain,  Loch  Etive."  To  the 
American  Centennial  Exhibition  in  1876,  he  sent  "A  Rift  in  the 
Gloom,  Glen  Sannox."  He  has  also  furnished  the  illustrations  for 
several  books  relating  to  Hungarian,  Italian,  and  Swiss  scenery. 

Herkomer,  Hubert,  A.  R.  A.  (Brit.)  Born  in  Waal,  Bavaria, 
1849.  Grand  Medal  of  Honor  at  the  Paris  Exposition  of  1878. 
Member  of  the  Liverpool  Society  of  Painters  in  Water- Colors,  of  the 
Brussels  Institute  of  Water-Colors,  and  of  the  Royal  Society  of  Water- 
Color  Painters  at  The  Hague.  His  father  is  a  wood-carver  of  singular 
taste  and  skill,  and  in  1851  emigrated  to  the  United  States,  and  again 
in  1857  removed  to  England,  always  seeking  better  fortune,  and  set- 
tled in  Southampton.  As  a  child,  Hubert  Herkomer  was  hindered  in 
his  education  by  ill-health  and  poverty.    When  thirteen  years  old 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  349 


he  entered  the  Art  School  at  Southampton,  and  won  a  bronze  medal 
during  his  first  year.  In  1865  he  accompanied  his  father  to  Munich, 
where  the  elder  Herkomer  was  commissioned  to  carve  a  series  of  fig- 
ures after  those  of  Peter  Visscher.  While  at  Munich  the  son  attracted 
attention,  and  Professor  Echter  did  much  to  aid  him  in  his  studies. 
In  1866  Hubert  Herkomer  entered  the  schools  at  South  Kensing- 
ton, but  after  five  months  was  obliged  to  return  to  Southampton, 
where  he  was  instrumental  in  establishing  a  life  school  for  drawing. 
At  Christmas  of  that  year  the  young  artists  associated  with  him  made 
an  exhibition  of  their  works,  and  Herkomer  sold  his  first  picture. 
In  1867  he  went  again  to  South  Kensington  for  a  few  months.  In 
1868  he  established  himself  in  the  little  village  of  Hythe,  where,  in 
the  midst  of  poverty  and  hardship,  he  painted  two  pictures,  which  he 
exhibited  at  the  Dudley  Gallery  in  1869.  He  then  went  to  London, 
where  his  genius  fast  gained  him  friends.  In  the  spring  of  1870  his 
"  Hoeing  "  was  hung  in  the  place  of  honor  at  the  Dudley.  About 
this  time  he  became  connected  with  the  Graphic,  in  which  many 
of  his  compositions  have  appeared,  and  attracted  much  attention.  In 
this  same  year  he  painted  in  Normandy,  "  Eeading  War  News," 
which  added  much  to  his  reputation,  and  as  early  as  1873  his  first 
sketch  of  the  "  Chelsea  Pensioners "  appeared  in  the  above-named 
publication.  In  1871  Herkomer  was  asked  to  join  the  Institute  of 
Painters  in  Water-Colors.  From  that  time  he  has  gone  steadily  for- 
ward from  one  success  to  another.  To  exhibitions  of  the  Institute  of 
Painters  in  Water-Colors  he  has  sent,  "  Rest,"  "  At  the  Well,"  "  Ab- 
endbrod,"  "  An  Alpine  Cheesemonger,"  "  Weary,"  etc.  He  first  con- 
tributed to  the  Royal  Academy  Exhibition  of  1873,  "  After  the  Toil 
of  the  Day"  ;  in  1874  he  sent  to  the  Institute,  "  Im  Walde,"  which 
so  decidedly  proclaimed  his  originality  and  prepared  the  way  for  his 
great  success,  in  1875,  with  the  "  Pensioners."  "  It  is  said  that  when 
this  work  was  brought  before  the  Committee  of  the  Royal  Academy, 
weary  as  they  were  with  a  long  day  spent  in  judging  mediocrities, 
they  could  not  refrain  from  clapping  their  hands  in  genuine  admira- 
tion. Some  of  them,  Mr.  Richmond  and  Mr.  Leighton  in  particular, 
wrote  to  congratulate  the  artist  before  the  day  was  over,  and  when 
the  public  was  admitted  to  the  galleries,  every  class  of  society  unani- 
mously confirmed  the  technical  judgment  of  the  artists.  In  1876  Mr. 
Herkomer  exhibited  the  melancholy  Bavarian  picture  called  'At 
Death's  Door.'  In  1877  he  painted  a  masterly  portrait  of  Herr  Wag- 
ner, and  another  Bavarian  subject,  the  4  Bittgang.'  It  is  not  possible 
in  so  short  a  notice  as  this  to  enumerate  nearly  all  the  works  of  so 
fertile  a  painter.  He  was  represented  in  the  Academy  of  this  year 
[1878]  by  a  singularly  striking  and  beautiful  rendering  of  no  less 
commonplace  a  subject  than  old  women  drinking  tea  in  the  work- 
house. He  has  filled  this  unpromising  theme  with  the  tenderest  pa- 
thos and  humor."    To  the  Grosvenor  Gallery,  in  1878,  he  contributed 


350     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


a  portrait  of  Eichard  Wagner  (also  etched  by  him),  "Who  Comes 
Here?"  and  "A  Souvenir  of  Rembrandt."  In  1879  he  was  elected 
Associate  of  the  Royal  Academy. 

To  the  Paris  Exposition  of  1878  he  sent  (in  oil)  "  The  Last  Master" 
and  "  After  the  Toil  of  the  Day/'  and  (in  water-colors)  "  Wood-Cut- 
ters "  and  "  The  Poacher's  Fate,"  besides  several  etchings. 

An  article  in  the  Graphic  of  October  26,  1878,  concludes  thus  :  — 

"  It  would  not  be  just  to  give  the  details  of  Mr.  Herkomer's  career  without  mention- 
ing that  beneath  the  brilliant  success  which  is  all  that  the  world  sees,  he  has  had,  even 
of  late,  to  struggle  against  such  burdens  and  disabilities  as  few  men  have  the  courage  to 
withstand  at  all.  Every  step  he  has  taken  upward  in  his  art  has  been  the  reward  of 
concentrated  energy  and  determined  resistance.  In  1876  he  accidentally  discovered  that 
he  was  possessed  of  extraordinary  mesmeric  powers,  and  he  is  of  opinion  that  this  dis- 
covery will  be,  and  has  been,  of  considerable  service  tto  him  in  painting.  It  may  be 
mentioned,  moreover,  that  among  his  many  accomplishments  he  includes  that  of  music, 
both  as  composer  and  executant. " 

"  '  The  Last  Muster,  —  Sunday  at  the  Royal  Hospital,  Chelsea '  [R.  A.,  1875]  is  the  work 
of  a  young  artist,  and  a  series  of  studies  of  soldiers'  faces.  It  is  one  of  the  best  paint- 
ings in  the  whole  exhibition.  The  Crimean  and  blue  ribbons  on  the  breasts  of  the  war- 
worn veterans  tell  of  the  allotted  threescore  years  that  had  passed  since  the  hard 
days  of  the  Peninsular  war,  while  their  wrinkled  faces  and  grizzly  white  beards  speak  of 
the  near  approach  to  fourscore  years  of  labor  and  sorrow.  This  picture  is  really  a 
grand  illustration  of  character-painting  to  the  life,  quite  worthy  to  be  classed  with  the 
very  best  works  of  the  year."  —  Art  Journal,  June,  1875. 

"  'Der  Bittgang'  by  Herkomer  —  peasants  praying  for  a  successful  harvest  while  they 
descend  a  mountain  path— is  not  nearly  so  good  as  former  works  have  been.  It  is  thin 
in  composition,  affected  in  the  expression,  and  excessively  hot  in  color."  —  London 
Athenaeum,  May,  1877. 

"  Of  Herkomer's  four  pictures,  the  half-length  of  Richard  Wagner,  painted  for  presen- 
tation to  the  master  by  the  members  of  the  German  Athenteum,  will  naturally  attract 
most  attention.  It  is  an  admirable  likeness  and  an  excellent  picture,  and  conveys  the 
exact  impression  of  aggressiveness  and  self-assertion  combined  with  power  and  intellect 
which  the  real  face  leaves  upon  us.  It  has  been  extremely  well  etched  by  the  painter, 
and  the  etching  is  in  the  gallery.  '  Who  Comes  Here  ? '  is  a  life-like  group  of  an  old 
Bavarian  peasant  with  his  two  children. " —  London  Times,  May  2,  1878. 

"  Hubert  Herkomer's  '  Eventide,  —  a  scene  in  Westminster  Union'  [R.  A.,  1878]  gives 
a  group  of  aged  pauper  women  at  afternoon  tea  in  the  bare,  long  room  of  a  workhouse. 
Every  figure  has  been  studied  from  the  life  with  a  rare  truthfulness  and  appreciation, 
the  general  type  and  the  individual  character  being  equally  well  represented  ;  and  if  in 
one  instance  the  character  is  horribly  disagreeable,  the  conscientious  skill  of  the  artist 
is  no  less  evident  there  than  in  the  old  faces  that  are  perfectly  sympathetic.  They  are 
all  drawn  with  that  real  power  which  shows  itself  in  the  treatment  of  the  soft,  feeble, 
and  unknit  forms  of  extreme  old  age,  more  triumphantly  than  in  the  firm  lines  of  young 
and  masculine  features.  Though  less  ambitious  in  size  and  subject,  this  picture  is  a 
worthy  companion  of  the  other  realistic  yet  more  heroic  study  of  old  age,  which  the 
artist  made  in  his  '  Chelsea  Pensioners.' "  —  Magazine  of  Art,  August,  1878. 

Herpin,  Leon.  (Fr.)  Born  at  Granville  (1841-1880).  Medals 
in  1875  and  '76.  Pupil  of  Daubigny  and  Busson.  Landscape-painter. 
His  pictures  are  mostly  of  views  in  France.  At  the  Salon  of  1878  he 
exhibited  "  Paris  seen  from  the  Bridge  of  the  Saints-Peres,  —  Evening." 

Herring,  John  Frederick.  (Brit.)  (1795-1865.;  He  was  bom 
fji  humble  circumstances,  and  as  an  artist  was  entirely  self-taught. . 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  351 


He  began  life  as  a  sign  and  house  painter,  and  was  at  one  time  driver 
of  a  mail  coach,  which  may  perhaps  account  for  his  specialty  as  an 
artist,  namely,  animals,  and  particularly  horses.  His  works  were  nu- 
merous and  very  popular  in  England.  Many  of  them  have  been  en- 
graved, and  the  lithographic  prints  of  many  of  his  racing  and  coach- 
ing pictures  are  familiarly  known  on  both  sides  of  the  Atlantic. 
As  preserving  the  manners  and  customs  of  travel  in  a  past  genera- 
tion they  are  of  great  interest.  At  an  exhibition  of  pictures  illustra- 
tive of  the  "Coaching  Days  of  England,"  held  in  London  in  1877, 
were  his  "York  Stage,"  "  The  Mail  Change,  1839,"  and  the  "Mail 
Coach,  1841."  His  "  Frugal  Meal,"  painted  in  1847,  is  in  the  Vernon 
Collection  of  the  National  Gallery.  Among  his  other  works  are, 
"The  Farm,  — Autumn,"  "  Watering  the  Team,"  " The  Farm-Yard," 
"  Horses  and  Poultry,"  "  The  Old  Lodge,"  etc.,  painted  in  the  later 
years  of  his  life. 

Herring,  John  Frederick,  Jr.  Son  of  the  preceding.  His  pictures 
are  of  the  same  character  as  those  of  the  elder  Herring,  including 
"  The  Home  Farm,"  "  The  Homestead,"  "  The  Farm- Yard,"  etc. 

Hertel,  Karl  Conrad  Julius.  (Ger.)  Born  at  Breslau,  1837. 
Studied  at  Diisseldorf  Academy,  and  under  W.  Sohn.  Traveled  in 
Germany,  Belgium,  and  Holland.  Settled  in  Diisseldorf.  He  early 
became  distinguished.  His  conception  is  thoughtful,  and  his  coloring 
fresh  and  pleasing.  At  the  National  Gallery,  Berlin,  is  his  "  Young 
Germany."  At  the  Leipsic  Museum  is  his  "  Young  Wounded  Soldier 
of  the  Campaign  of  1870,"  painted  in  1872. 

Hess,  Peter  von.  (Ger.)  Born  at  Diisseldorf  (1792- 1871).  Mem- 
ber of  the  Academies  of  Munich,  Berlin,  Vienna,  and  St.  Petersburg. 
This  painter  has  been  called  the  Horace  Vernet  of  Central  Germany. 
His  "  Battle  of  Arcis-sur-Aube  "  is  a  chef-d'oeuvre.  His  "  Entrance  of 
King  Otho  into  Nauplia  "  is  probably  his  best  work.  "  The  Crossing 
of  the  Beresina  "  was  painted  for  the  late  Emperor  of  Russia.  Von 
Hess  also  painted  genre  subjects  which  are  in  some  of  the  best  Euro- 
pean galleries.  He  has  been  so  much  employed  by  the  Bavarian 
government  that  his  easel-pictures  are  not  numerous.  His  "  Album 
of  Greek  Heroism,"  containing  about  forty  illustrations,  is  a  splendid 
volume.  He  was  appointed  keeper  of  the  Pinakothek  at  Munich 
quite  late  in  life.  He  traveled  in  various  countries,  and  accompanied 
the  King's  son  to  Greece.  At  the  National  Gallery  at  Berlin  are,  "  St. 
Leonard's  Festival  in  Bavaria,"  "  A  Marketing  Scene,"  "  Plundering 
Cossacks,"  "  A  Grecian  View  with  Soldiers,"  and  "  A  Surprise."  He 
was  decorated  by  many  orders  ;  among  others,  that  of  the  Bavarian 
Civil  Service. 

Hess,  Heinrich  Maria.  (Ger.)  Born  at  Diisseldorf  (1798  -  1863). 
After  studying  in  Munich  he  went  to  Rome,  under  the  protection  of 
King  Maximilian,  to  pursue  his  studies  there.  When  thirty  years 
old  he  was  made  Professor  at  the  Academy  of  Munich,  and  afterwards 


352     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


became  the  Director  of  all  the  art  institutions  of  that  city.  His  com- 
missions were  so  numerous  that  he  gathered  about  him  pupils  whom 
he  employed  in  subordinate  labors,  and  thus  only  could  he  execute 
his  vast  mural  works.  The  interior  of  the  chapel  of  All-Saints  was 
painted  in  fresco,  also  the  Basilica  of  Saint  Boniface.  In  the  church 
of  Maria  Hilf  nineteen  large  windows  were  executed  under  his  direc- 
tion, and  these  windows  are  the  attraction  of  the  church.  The  works 
of  Hess  are  such  as  can  be  described  only  in  many  pages,  but  to  any 
traveler  interested  in  the  history  of  German  art  they  are  of  interest. 
Among  his  oil-pictures  are,  "  St.  Luke,"  in  the  Royal  Collection  at 
Berlin  ;  "Faith,  Hope,  and  Charity";  and  "  Christmas  Eve."  At  the 
Leipsic  Museum  are  some  cartoons  of  his  frescos  at  the  Court  Chapel 
in  Munich  (All- Saints). 

Among  his  latest  works  were  the  designs  for  the  great  north  win- 
dow in  the  Cathedral  of  Glasgow. 

"  Hess,  as  a  painter,  wanting  in  the  physical  power  of  Cornelius,  and  in  the  spiritual 
fervor  of  Overbeek,  does  not,  like  these  artists,  rank  among  the  chiefs  of  the  German 
school.  Yet  he  is  a  man  holding  honorable  position  ;  an  artist  not  creating  his  age,  but 
molded  by  it  ;  an  industrious,  careful  worker ;  a  painter  who  utilizes  known  ideas, 
adapts  existing  modes,  and  thus  makes  pleasing  pictures,  and  does  much  good  service 
to  art.  Vigor  in  his  outlines  never  obtrudes,  as  with  Cornelius,  in  the  form  of  rude 
ruggedness  ;  rather  as  the  Carlo  Dolci  of  Germany  would  he  be  recognized,  by  sweet 
serenity,  by  delicacy  of  beauty,  and  by  quiet  unobtrusive  goodness.  Truly  did  Raczyn- 
ski  say,  that  Hess,  by  disposition,  was  destined  to  be  the  painter  of  evangelists,  for  in 
him  dominate  the  tender  emotions  of  love  and  religion."  —  J.  Beavington  Atkinson, 
Art  Journal,  April,  1865. 

Hess,  Karl.  (Ger.)  Born  at  Diisseldorf  (1801  -  1874).  His  father, 
Peter  Hess  the  elder,  was  a  copperplate  engraver,  and  the  son  first 
studied  that  art,  but  soon  turned  to  painting.  His  subjects  are  genre, 
animals,  and  landscapes.  His  pictures  of  the  lesser  beauties  of  the 
Alps,  of  the  scenery  and  of  the  life  of  the  people,  are  fine,  —  they 
are  true,  vigorous,  and  poetical.  One  of  his  best  works  is  "  An  Ani- 
mal Piece,  —  on  the  Starnbergersee."  At  the  Berlin  National  Gallery 
are  his  "  Tyrolese  Landscape  "  and  "  Cattle  in  a  Pasture." 

Hess,  Georg.  (Ger.)  Born  in  1832.  This  sculptor  made  his 
studies  under  great  difficulties.  He  was  early  left  an  orphan,  without 
money  ;  and  he  labored  in  America  and  Germany  to  gain  the  means 
to  study  in  Munich.  He  went  there  at  the  age  of  twenty-five.  His 
bust  of  Mme.  Janauschek  is  well  known,  and  is  admired.  Among 
his  ideal  subjects  are  "Echo"  and  "  The  Water-  Lily."  His  humor- 
ous pieces,  "  Gold  Up  "  and  "  Gold  Down,"  are  worthy  of  mention. 
Hess  lives  in  New  York. 

Hesse,  Nicolas-Auguste.  (Fr.)  Born  at  Paris  (1795-1869). 
Member  of  the  Institute  and  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  Gros.  Grand  prix  de  Rome  in  1818.  His  works  are  historical  and 
religious.  He  executed  a  great  many  decorative  works  in  churches 
and  galleries.  He  also  executed  some  paintings  on  glass,  and  made 
the  cartoons  for  others. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  353 


Hesse,  Alexandre-Jean-Baptiste.  (Fr.)  Born  at  Paris  (1806  - 
1879).  Nephew  of  the  preceding.  Member  of  the  Institute  and 
Officer  of  the  Legion  of  Honor.  Pupil  of  Gros.  He  passed  some 
time  at  Venice,  where  he  painted  "  The  Funeral  of  Titian/'  "  Leonardo 
da  Vinci  giving  Liberty  to  some  Birds,"  etc.  He  painted  historical 
and  religious  subjects  and  portraits.  In  the  chapel  of  Saint-Francois 
de  Sales,  at  the  church  of  Saint- Sulpice,  are  some  of  his  mural 
paintings.    His  "  Triumph  of  Pisani  "  (1847)  is  in  the  Luxembourg. 

Heyden,  Otto  Johann  Heinrich.  (Ger.)  Born  at  Ducherow, 
1820.  Doctor  of  Philosophy,  Royal  Professor,  and  Court  Painter. 
Studied  at  the  Berlin  Academy,  and  under  Wach  and  Von  Klober  ; 
at  Paris  under  Cogniet.  Passed  four  years  in  Italy.  Visited  Egypt 
in  1869.  In  1866  and  1870  he  was  with  the  German  army.  Paints 
historical  scenes  and  portraits.  At  the  Berlin  National  Gallery  is  a 
"  Scene  on  the  Battle-field  of  Koniggratz,"  by  Heyden. 

Heyden,  August  Jacob  Theodor  von.  (Ger.)  Born  at  Bres- 
lau,  1827.  Commenced  his  art  studies  in  1859.  In  1861  he  was 
under  Steffeck  in  Berlin,  and,  later,  in  Paris  with  Couture.  He 
passed  considerable  time  in  Italy  studying  the  monumental  painting 
of  the  Renaissance.  He  has  executed  frescos  in  the  Hotel  de  Ville 
of  Berlin,  the  drop  curtain  of  the  Berlin  Opera  House,  the  ceiling  in 
the  Grand  Hall  of  the  Emperor's  Gallery,  and  other  works  in  the  Na- 
tional Gallery.  Some  of  his  decorative  paintings  are  in  the  Vienna 
Exhibition  hall.  Von  Heyden  paints  the  costumes  and  the  customs 
of  the  times  in  smaller  works,  and  his  etchings  are  praiseworthy.  In 
the  National  Berlin  Gallery  is  his  "  Morning  of  a  Fete  Day  "  (or  a 
young  woman  decorating  an  altar  by  morning  twilight).  At  Berlin 
in  1876  he  exhibited  "  A  Martyr." 

Hicks,  George  E.  (Brit.)  Born,  1814.  Studied  medicine  in 
the  University  of  London  for  some  time,  but,  determining  to  become 
an  artist,  he  entered  the  Bloomsbury  School  of  Art  in  1843,  and  the 
Royal  Academy  in  1844.  His  "  Lark  at  Heaven's  Gate,"  at  the  Royal 
Academy  in  1855,  was  his  first  important  picture.  It  attracted  some 
attention,  as  did  his  "  Withe  Peeling,"  in  1857  ;  but  his  "  Dividend 
Day  at  the  Bank,"  exhibited  in  1859,  brought  him  at  once  into  popu- 
lar notice.  This  was  followed  by  other  works  of  a  similar  character, 
"The  Post-Office "  (1860),  "Before  the  Magistrates"  (1866),  "Bil- 
lingsgate Market,"  etc.  His  "  Changing  Homes  "  and  "  Woman's  Mis- 
sion" were  exhibited  in  1862  ;  "Reflected  Smiles,"  in  1867  ;  "Utiliz- 
ing Church  Metal,"  in  1869 ;  "  The  New  Hope  "  and  "  The  First  Dip," 
in  1870  ;  "  Black  Monday,"  in  1871  ;  "  Ruth  the  Moabitess,"  in  1874 ; 
"  The  Return  from  Gleaning,"  in  1876  ;  "  The  Fisherman's  Wife " 
and  "  The  Woodman's  Daughter,"  in  1877  ;  "Alone  "  and  "Forget  me 
not,"  in  1878.  Hicks'  "Will  he  do  it?"  was  in  the  American  Cen- 
tennial Exhibition  of  1876.  His  "Faith,  Hope,  and  Charity,"  at  the 
sale  of  the  Latham  Collection  in  New  York  in  1878,  brought  $  525. 

w 


354     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"There  is  much  of  the  feeling  of  Murillo  in  'The  Mother  and  Child,'  by  George  E. 
Hicks  [R.  A.,  1873].  It  is  a  group  of  the  size  of  life.  The  heads  are  rendered  cap- 
tivating by  an  entire  absence  of  affectation  and  a  strong  reference  to  nature.  The  dra- 
pery arrangement  is  far  removed  from  commonplace,  and  the  color,  generally,  is  tender 
and  harmonious."  —  Art  Journal,  June,  1873. 

Hicks,  Thomas,  N.  A.  {Am.)  Born  in  Pennsylvania,  1823.  De- 
voted himself  to  art  at  an  early  age,  studying  in  the  Academy  of 
Philadelphia  and  in  the  National  Academy,  New  York.  "  The  Death 
of  Abel,"  his  first  important  picture,  was  exhibited  in  1841.  In  1845 
he  sailed  for  Europe,  remaining  until  1849,  painting  in  Rome  and  other 
Italian  cities,  and  studying  under  Couture  in  Paris.  He  was  made  a 
member  of  the  National  Academy  in  1851,  and  is  President  of  the 
Artists'  Fund  Society.  He  is  one  of  the  best  known  and  most  popular 
of  the  American  portrait-painters.  His  "  Edwin  Booth  as  Iago  "  (be- 
longing to  Mr.  T.  R.  Butler),  a  very  strong  picture  and  powerful 
likeness,  is  well  known,  as  well  as  his  portraits  of  Dr.  Kane,  Henry 
Ward  Beecher,  William  C.  Bryant,  T.  Addison  Richards,  Bayard 
Taylor,  Oliver  W.  Holmes,  Longfellow,  Harriet  Beecher  Stowe, 
Gulian  C.  Verplanck,  and  William  M.  Evarts.  His  Hamilton  Fish 
and  Mayors  Tiernan  and  Gunther  are  in  the  City  Hall,  New  York. 

"  Hicks  usually  catches  a  likeness  with  facility,  and  often  indulges  in  warmth  of  col- 
oring and  elaborate  accessories  which  have  contributed  to  the  popularity  of  his  por- 
traits Another  point  in  which  success  is  rare  is  obvious  in  his  full-length  por- 
traits. They  are  well  drawn  and  toned.  The  figures  stand  firmly  and  easily."  —  Tuck- 
eeman's  Book  of  the  Artists. 

Hiddemanh,  Friedrich  Peter.  (Ger.)  Born  at  Diisseldorf,  1829. 
Medals  at  Vienna,  1873,  and  Philadelphia,  1876.  Studied  at  Diissel- 
dorf Academy  under  Theodor  Hildebrandt  and  W.  von  Schadow. 
Traveled  considerably  for  sketching  and  art  studies.  Genre  painter 
and  designer.  At  the  National  Gallery  at  Berlin  is  his  picture  of  "  A 
Recruiting-Officer  in  the  time  of  Frederick  the  Great."  Among  his 
works  is  "  At  the  Doctor's."  At  the  Walters  Gallery,  Baltimore,  is 
his  picture  representing  an  "  Old  Couple  who  look  with  Astonishment 
at  a  Ball  which  is  sustained  by  a  Jet  of  Water."  It  is  most  amus- 
ing, full  of  good-natured  humor. 

Hildebrandt,  Ferdinand  Theodor.  (Ger.)  Born  at  Stettin 
(1804-1874).  Member  of  the  Academy  of  Berlin.  Studied  at 
Berlin  under  Wilhelm  Schadow,  whom  he  accompanied  to  Diissel- 
dorf, in  which  city  he  afterwards  settled.  This  artist  painted 
historical,  religious,  and  genre  subjects.  He  has  illustrated  many 
scenes  from  the  works  of  Goethe,  Shakspere,  and  other  poets. 
Theodor  Hildebrandt  stands  as  one  of  the  best  colorists  of  the  Diis- 
seldorf school.  He  had  originality  ;  his  manner  was  that  of  moderate 
realism  ;  and  he  has  been  much  admired  outside  of  his  own  country. 
His  portraits  were  good,  especially  those  of  old  men.  Among  his 
works  are,  in  genre,  "  Children  around  the  Christmas-Tree,"  "  Chil- 
dren in  a  Boat,"  "  The  Children  of  the  Choir  at  Vespers,"  and  "  The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  355 


Brigands."    Of  another  sort  are,  "  Othello  recounting  his  Adventures 
to  Desdemona,"  "  The  Death  of  the  Children  of  Edward  IV.," 
"  Romeo  and  Juliet,"  "  Judith  killing  Holofernes,"  and  "  Tancred  and 
Clorinda." 

Hildebrandt,  Eduard.  (Ger.)  Born  at  Dantzic  (1817-1868). 
Member  of  the  Academy  of  Berlin.  Chevalier  of  the  Orders  of  the 
Rose  of  Brazil,  of  the  Red  Eagle,  of  Christ  of  Portugal,  and  of  the 
Legion  of  Honor.  Pupil  of  Isabey.  He  painted  landscapes  and 
genre  subjects.  He  sent  to  Paris,  in  1855,  "  Winter"  and  "  Fishing- 
Boats  of  Hastings."  Among  his  works  are,  "  Boats  leaving  the  Port," 
"  Stormy  Sea  with  Boats,"  "  A  Street  in  Lyons,  and  Another  in 
Rouen,"  "  Two  Views  of  Heligoland,"  "  Portrait  of  a  Man  with 
Dogs,"  "A  Tropical  Rain,"  "  Market- Place  "  (probably  in  Mexico), 
"  A  View  of  Teneriffe,"  "  A  View  on  the  Shore  of  the  Baltic  Sea," 
"  A  View  in  Rio  Janeiro,"  etc.  His  views  represent  almost  all  coun- 
tries ;  Italy,  India,  tropical  and  northern  lands,  have  all  come  under 
his  observation.  At  the  Corcoran  Gallery,  Washington,  is  his  "Moon- 
rise  in  Madeira,"  painted  for  Mr.  Corcoran  at  the  request  of  Baron 
Humboldt.  Mr.  Probasco  of  Cincinnati  has  a  "  Marine  View,  — 
Sunset  off  the  Isle  of  Jersey,"  by  this  artist. 

"A  large  part  of  the  public  of  to-day  is  lost  in  admiration  of  the  landscapes  of 
Eduard  Hildebrandt,  and  this  admiration  is  all  that  they  merit.  We  cannot  imagine 
that  their  fame  can  be  lasting.  Hildebrandt,  whose  sketches  were  exhibited  here  a 
year  ago,  has  given  us  oil-paintings  of  two  sunsets,  which  were  especially  admired,  — 
one,  on  the  shore  of  the  Ganges,  swims  in  a  golden  light ;  the  other,  an  evening  in  the 
tropics,  shines  in  a  red  glow.  The  artist  produces  such  remarkable  effects  of  light  that 
not  only  can  no  one  else  vie  with  him,  but  he  even  excels  his  own  former  works  of  this 
sort.  He  places  together  the  most  boldly  contrasting  colors,  —  the  shadows,  even,  are 
full  of  bright  tints,  —  and  over  the  whole  reigns  the  grandest  harmony,  united  with  a 
power  of  employing  light  which  excels  all  imagination.  But  here  the  merits  of  his  work 
end.  Every  other  artistic  property  is  wanting ;  the  negligence  of  form,  especially  in 
the  foreground,  is  greater  than  ever.  Hildebrandt  shows  himself  a  virtuoso,  and  a  vir- 
tuoso of  the  first  rank,  but  that  is  not  an  artist.  In  these  brilliant  achievements  he  is 
incessantly  showing  himself  to  us  and  saying,  1 1  can  do  this.'  Just  for  this  reason  the 
poetic  sentiment  is  not  heightened  by  his  presentation  of  it,  but  is  rathei  dimmed  by 
exaggeration.  We  are  too  much  dazzled  to  be  truly  affected."  —  Correspondence  from 
Berlin,  in  Zeitschrift  fur  bildende  Kunst,  1866. 

Hill,  David  Octavius.  (Brit.)  Born  in  Perth  (1802-1870). 
He  studied  art  in  Edinburgh,  and  exhibited  as  early  as  1823  several 
landscapes,  considered  then  of  great  promise.  Among  his  early  works 
may  be  mentioned,  "  A  Scottish  Wedding,"  "  A  Lonely  Shore,"  "  The 
Valley  of  the  Nith,"  "  Fotheringay  Castle,"  "  Ruins  of  Dunfermline 
Palace,"  etc.  "  Sterling  "  and  "  The  Carse  of  Monteith  "  were  exhib- 
ited in  1864;  "  Windsor  Castle  "  and  "  A  Dream  of  Carrick  Shore" 
followed.  In  1866  he  completed  his  great  work,  "  The  Disruption  of 
the  Scottish  Church,"  a  picture  of  large  size,  containing  the  portraits 
of  nearly  five  hundred  clergymen.  It  is  now  in  the  hall  of  the  Free 
Presbytery  of  Edinburgh,  and  has  been  frequently  photographed  as 
well  as  engraved.    He  was  elected  a  member  of  the  Royal  Scottish 


356     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Academy  at  an  early  age,  and  was  its  Secretary  for  over  forty  years* 
He  was  instrumental  in  the  organization  of  the  Fine  Art  Association 
of  Scotland,  and  in  the  erection  of  the  present  National  Gallery  in 
Edinburgh.  On  the  invention  of  photography  in  1843,  he  turned  his 
attention  to  that  art,  and  devoted  some  time  to  its  improvement  and 
perfection. 

"If  Mr.  Hill's  works  may  not  rank  with  the  highest  productions  of  British  artists, 
even  with  the  best  of  those  of  Scotland,  he  did  much  to  maintain  the  honor  of  the  school 
to  which  he  belonged.  His  subjects  were  always  judiciously  selected,  are  treated  with 
true  poetic  feeling  and  delicacy,  rather  than  forcibly  rendered,  yet  his  management  of 
light  and  shade  gives  to  them  a  power  which  painters  of  greater  vigor  do  not  always  at- 
tain."—  Art  Journal,  June,  1870. 

Hill,  Amelia  R.  (Brit)  A  native  of  Dunfermline,  she  has  lived 
for  many  years  in  Edinburgh.  She  is  a  sister  of  Sir  Noel  and  of 
Waller  H.  Paton,  and  wife  of  the  late  D.  O.  Hill  of  the  Royal  Scot- 
tish Academy.  A  sculptor  by  profession,  she  has  made  busts  of 
Thomas  Carlyle,  Sir  David  Brewster,  Sir  Noel  Paton,  Richard  Irven 
of  New  York,  and  others  ;  has  executed  also  many  ideal  figures,  the 
Memorial  to  the  Regent  Murray  at  Linlithgow,  statue  of  Captain 
Cook,  and  the  statue  of  Dr.  Livingstone,  unveiled  in  Prince's  Gardens, 
Edinburgh,  in  1876,  which  is  said  to  be  the  first  work  of  its  kind 
executed  by  a  woman  which  has  been  erected  in  any  public  square  in 
Great  Britain. 

"  Mrs.  Hill  has  mastered  great  difficulties  in  becoming  a  sculptor  in  established  prac- 
tice." —  Mrs.  Tytler's  Modem  Painters. 

"Mrs.  Hill's  'Captain  Cook'  [R.  S.  A.,  1874]  is  an  interesting  figure,  and  a  perfectly 
faithful  likeness,  according  to  extant  portraits  of  the  great  circumnavigator."  —  Art 
Journal,  April,  1874. 

Hill,  Thomas.  (Am.)  Born  in  Birmingham,  England,  1829.  Taken 
by  his  family  to  America  in  1841,  he  lived  in  Taunton,  Mass.  He 
went  to  Boston  in  1844,  and  for  some  years  was  a  member  of  painting 
and  decorating  firms  of  that  city  and  of  Philadelphia.  In  1854  he 
entered  the  life  class  of  the  Philadelphia  Fine  Art  Academy,  but 
with  the  exception  of  a  few  months  spent  in  the  studio  of  Paul  Meyer- 
heim  of  Paris,  he  is  self-taught  as  an  artist.  In  1861  he  went  to  San 
Francisco,  remaining  some  years.  He  was  a  resident  of  Cambridge, 
Mass.,  from  1867  to  '71,  and  is  a  member  of  the  Boston  Art  Club,  ex- 
hibiting there  his  first  important  picture,  "  The  Yosemite  Valley," 
which  was  chromoed  by  Prang,  and  subsequently  purchased  by  Charles 
Crocker  of  San  Francisco.  Among  his  better-known  pictures  are  his 
"White  Mountain  Notch"  (owned  by  E.  Hamlin  of  Boston),  and 
"  The  Great  Canon  of  the  Sierras  "  (belonging  to  Judge  Crocker  of 
California).  William  Bement  of  Philadelphia  has  one  of  his  forest 
scenes,  and  George  Chickering  of  Boston,  a  wood  interior.  In  1871 
he  returned  to  San  Francisco,  where  he  still  resides  (1884).  Since 
1873  he  has  been  an  active  member  of  the  San  Francisco  Art  Associa- 
tion, being  its  Vice-President  in  1874.  To  the  Centennial  Exhibition 
at  Philadelphia,  in  1876,  he  sent  "  The  Yosemite  Valley,"  "  The  Home 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  357 


of  the  Eagle  "  (belonging  to  John  A.  Faull),  and  "  Donner  Lake  " 
(belonging  to  Hon.  L.  Stanford),  for  which  he  received  a  medal  and 
diploma.  He  has  also  received  medals  from  various  societies  for  his 
decorative  painting. 

"Mr.  Thomas  Hill  exhibited  his  '  Yosemite  Valley,'  a  large  picture,  and  superior  to 
anything  of  the  kind  in  the  Exhibition,  in  the  way  of  attractive  and  realistic  represen- 
tation of  scenery  strikingly  grand  in  its  own  elements.  Such  representations  have  held 
a  place  in  American  landscape  art.  They  appeal  with  force  to  the  popular  taste,  and 
while  they  are  very  distinct  in  their  aim  from  the  ends  sought  in  more  mature  art,  which 
is  less  dependent  on  novelty  of  material,  they  are  not  without  decided  power  when 
treated  with  the  ability  displayed  by  Mr.  Hill,  or  as  formerly  rendered  by  Mr.  Bierstadt." 
—  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

Hillemacher,  Eugene-Ernest.  (Fr.)  Born  at  Paris  about  1820. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Leon  Cogniet.  At  the 
Luxembourg  is  his  "  Confessional  in  St.  Peter's  at  Rome  "  (1855).  At 
the  Salon  of  1877  he  exhibited  "Archimedes"  and  "Phidias";  in 
1876,  "  The  Entrance  of  the  Turks  into  the  Church  of  Sainte-Sophie 
in  1453,"  and  "  Le  menage  du  serrurier";  in  1875,  "The  Sleeping 
Beauty  of  the  Wood,"  "  A  Family  Repast,"  and  a  portrait ;  in  1874, 
"  The  Young  Turenne,"  "The  Marriage-Chest,"  and  "Voisinage"; 
in  1873,  "  The  Bourgeois  Gentleman  and  his  Professors  "  and  "  Janie- 
ray-Duval." 

Hilliard,  William  Henry.  (Am.)  Born  at  Auburn,  1ST.  Y.,  1836. 
With  a  natural  taste  for  art,  he  pursued  his  studies  under  many  diffi- 
culties and  discouragements  in  New  York.  Later,  he  painted  landscapes 
in  the  West  until  he  was  able  to  go  to  Europe.  After  sketching  in 
England  and  Scotland  he  went  to  Paris,  where  he  entered  the  studio 
of  Lambinet.  Upon  his  return  to  America  he  painted  for  some  time  in 
New  York,  before  removing  to  Boston,  where  he  still  remains.  His 
specialty  is  landscapes  and  marines,  and  he  has  exhibited  in  many  of 
the  principal  cities  of  the  United  States,  receiving  several  medals. 
He  is  best  known  by  his  New  England  views,  —  of  Maine,  White  and 
Franconia  Mountains,  Atlantic  Coast,  etc.,  including  his  "  Campton 
Meadows,"  "  Castle  Eock,"  "  Wind  against  Tide  "  (1878),  and  others. 
His  "Battle-field  of  Lookout  Mountain"  (owned  in  Chicago)  and 
"  Alatoona  Pass,  Ga."  attracted  much  attention  when  exhibited. 

Hillingford,  Robert  Alexander.  (Brit.)  Born  in  1828.  In 
1841  he  entered  the  Academy  at  Diisseldorf,  remaining  five  years  in 
that  city,  and  working  and  studying  in  Munich,  Rome,  Florence,  and 
Naples  before  his  return  to  England  in  1864.  While  in  Rome  he 
painted  "  The  Last  Evening  of  the  Carnival,"  which  was  exhibited  in 
St.  Petersburg  in  1859.  He  sent  to  the  Royal  Academy,  London,  in 
1866,  "Petruchio";  in  1868,  "Before  the  Tournament";  in  1872, 
"  The  Armorer  and  the  Glee  Maiden  "  ;  in  1873,  "  Munchausen  "  ; 
in  1874,  "During  the  Wanderings  of  Charles  Edward  Stuart"  ;  in  1875, 
"A  Manager's  Troubles"  ;  in  1877,  "An  Incident  in  the  Early  Life 
of  Louis  XIV." 


358     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Mr.  Hillingford  has  exhibited  at  Leeds,  in  different  seasons,  "  The 
Flight  of  J essica  "  and  "  Julia's  Mission,"  and  among  his  other  works 
(some  of  them  never  exhibited)  are,  "  Evangeline,"  "  Prince  Charlie 
at  Carlisle,"  "  The  King  '  over  the  Water/  "  "  The  White  Cockade," 
"  The  Marriage  Contract,"  and-  "  The  Anteroom."  He  is  an  Hon- 
orary Member  of  the  Imperial  Russian  Academy  of  Fine  Arts  in  St. 
Petersburg. 

Hinchliff,  John  James.  (Brit.)  Died  in  Somersetshire,  England, 
1875.  A  well-known  landscape-engraver,  and  son  of  John  Ely  Hinch- 
liff, the  British  sculptor.  He  chose  the  profession  of  engraving  at  an 
early  age.  Among  the  best  of  his  works  are  his  illustrations  of 
Beattie's  "  Castles  and  Abbeys  of  England  "  and  Gastineau's  "  Pictu- 
resque Scenery  of  Wales,"  and  other  publications  of  the  same  class. 

Hinckley,  Thomas  Hewes.  (Am.)  Born  at  Milton,  Mass.,  1813. 
At  the  age  of  fifteen  he  was  apprenticed  to  a  trade  in  Philadelphia, 
but,  having  a  fondness  for  drawing  animals,  he  attended  during  one 
winter  an  evening  school,  where  he  was  instructed  by  Mason  in  per- 
spective, and  in  light  and  shade.  This  is  the  only  instruction  Hinck- 
ley ever  received.  When  eighteen  years  old  he  went  to  Boston,  and 
two  years  later  associated  himself  with  a  sign  and  fancy  painter  in 
order  to  learn  the  use  of  colors.  He  soon  attempted  portrait  and  land- 
scape painting,  to  which,  after  a  time,  he  devoted  himself,  occasionally 
painting  also  subjects  from  still-life.  In  1843  he  made  a  successful 
picture  of  dogs,  and  determined  then  to  devote  himself  to  animal- 
painting.  In  1845  he  established  himself  in  a  studio  at  Milton.  In 
1851  he  went  to  Europe  for  the  purpose  of  studying  the  works  of 
Landseer  and  other  English  and  Flemish  masters.  In  1858  he  painted 
for  a  gentleman  of  Sheffield,  England,  two  pictures  of  dogs  and  game, 
which  were  exhibited  at  the  Royal  Academy,  London,  the  same  year. 
Hinckley  has  never  copied  or  imitated  any  other  artist,  believing 
Nature  to  be  the  only  true  source  of  knowledge.  His  pictures  are 
in  galleries  in  all  the  principal  cities  of  the  United  States.  A  land- 
scape with  cows  belongs  to  Mr.  John  Erskine  of  Boston  ;  pictures 
of  deer  to  Mr.  C.  H.  Miller  and  to  Mrs.  E.  D.  Kimball  of  Salem, 
Mass.,  etc.    Hinckley  very  rarely  exhibits  his  works  publicly. 

Hine,  H.  G.  (Brit.)  A  native  of  Sussex,  he  has  lived  for  many 
years  in  London,  where  he  is  an  active  member  of  the  Institute  of 
Painters  in  Water-Colors.  As  an  artist,  he  is  comparatively  self- 
taught.  He  devotes  himself  to  landscapes.  Among  his  works  are, 
"Lewes  from  the  Town  Mill,  Morning,"  " Sea-Roamers,"  "South 
Downs,  Sussex,"  "  On  the  Downs  near  Lewes,"  "  Swanagh  Bay," 
"  Old  Chalk-Pit,  Eastbourne,"  "  Cliffs  at  Cuckmere,"  "  In  Cowdray 
Park,"  etc.  His  "  Folkestone  Hill,  —  Haymaking,"  "  Corfe  Castle," 
and  "  Moonlight,  Shoreham"  were  at  the  Paris  Exposition  of  1878. 

"  By  H.  G.  Hine  there  is  a  light  and  breezy  piece  of  scenery,  but  he  distinguishes  him- 
self especially  in  his  Views  of  the  '  Sussex  Downs,'  to  which  really  it  is  extremely  diffi- 
cult to  impart  any  lasting  interest.  However,  his  *  View  on  the  Downs  near  Lewes '  is 
a  work  of  a  very  high  degree  of  excellence."  —  -Art  Journal^  June,  1873. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  359 


Hiolle,  Ernest  Eugene.  (Fr.)  Born  at  Valenciennes.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Jouffroy.  At  the  Salon  of  1877  he 
exhibited  a  bronze  bust  of  Carpeaux,  to  be  placed  on  his  tomb  at  Valen- 
ciennes, and  a  bronze  bust  of  Jouffroy  ;  in  1876  a  plaster  statue  of 
"  St.  Jean  de  Matha  "  for  the  Pantheon,  and  a  portrait  bust  in  marble ; 
in  1875,  three  portrait  busts  ;  and  in  1874,  an  allegorical  statue  of  the 
"  Children  of  Cambrai  who  died  for  their  Country,"  for  a  monument  to 
be  erected  at  Cambrai.  At  the  Luxembourg  are  his  "  Narcissus " 
(1869)  and  "Arion  seated  on  a  Dolphin"  (1870).  At  the  Salon  of 
1878  he  exhibited  a  statue  in  bronze  of  General  Foy,  a  group  in  mar- 
ble, called  "  A  Child,"  and  a  marble  statue  of  "  St.  Jean  de  Matha," 
for  the  church  of  Sainte-Genevieve  (Pantheon). 

Hockert,  Jean  Frederic.  (Swede.)  Born  at  Jonkoping  (1826  - 
1867).  Member  and  Professor  of  the  Academy  of  Fine  Arts  at 
Stockholm.  Chevalier  of  the  Order  of  Wasa,  and  of  that  of  the  Polar 
Star.  Medal  at  Paris  in  1855.  After  studying  in  Stockholm  and 
Munich,  this  artist  passed  some  years  in  Paris  as  a  pensioner  of  King 
Oscar,  and  exhibited  at  several  Salons  works  which  were  much 
admired.  He  made  a  journey  to  Lapland  and  took  many  sketches 
from  which  he  afterwards  painted.  Later  in  life  he  visited  Italy, 
Spain,  Africa,  England,  Belgium,  and  Holland.  Among  his  works 
are,  "  Preaching  in  a  Chapel  in  Swedish  Lapland,"  in  the  Museum  at 
Lille  ;  "  A  Lapland  Woman  rocking  her  Child,"  Museum  at  Stock- 
holm ;  "  Return  from  a  Wedding  in  Lapland,"  a  portrait  of  Charles 
XV.  of  Sweden,  and  a  portrait  of  the  Bey  of  Tunis,  all  three  pur- 
chased by  the  King  of  Sweden.  "  Gustave  Wasa  rescued  from  the 
Danes,"  considered  his  best  historical  picture,  ornaments  the  national 
monument  of  Mora  in  Dalecarlia,  etc.  Hockert  was  the  intimate 
friend  of  Charles  XV.,  and  Oscar  I.  testified  his  appreciation  of  the 
artist  by  giving  him  a  gold  medal  inscribed  Memorle  Pignus. 

"  Hockert  is  an  artist  of  good  parts  He  received  at  birth  a  sum,  I  would  say- 
almost  a  fortune,  of  solid,  brilliant,  and  homogeneous  qualities.  He  well  knows  what  he 
wishes,  and  as  the  power  of  execution  is  not  wanting  to  him,  the  part  he  takes  is  clearly 
written  in  Lis  works.  A  Swede  by  birth,  he  brings  the  North  to  us  in  his  portfolio. 
His  beautiful  '  Sermon '  of  1855  charmed  us  like  a  magic  evocation  of  an  unknown  coun : 
try."  —  Edmond  About,  Nos  Artistes  au  Salon  de  1857. 

Hodgson,  John  E.,  R.  A.  (Brit.)  Born  in  London,  1831.  Spent 
his  early  years  in  Russia,  where  his  father  was  engaged  in  mer- 
cantile pursuits.  Returned  to  England  in  1853.  Entered  the  Royal 
Academy  in  1855,  and  exhibited  his  first  picture  the  following  year. 
Among  his  earlier  works  are,  "  The  Arrest  of  a  Poacher,"  in  1857  ; 
"  Canvassing  for  a  Vote,"  in  1858  ;  "  The  Patriot's  Wife,"  in  1859  ; 
"  Margaret  Roper  in  Holbein's  Studio,"  in  1861  ;  "  The  Return  of 
Drake  from  Cadiz,"  in  1862  ;  "  The  First  Sight  of  the  Armada,"  in 
1863.  He  went  to  Tunis  and  Tangiers  in  1868,  and  has  since  ex- 
hibited many  pictures  of  Eastern  life,  notably,  in  1869,  "An  Arab 


360     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Story-Teller";  in  1870,  "The  Basha's  Black  Guards";  in  1871,  "An 
Arab  Patriarch "  ;  in  1872,  " Army  Reorganization  in  Morocco";  in 
1873,  "A  Tunisian  Bird-Seller."  In  1879  he  was  elected  full  member 
of  the  Royal  Academy.  In  1874  he  exhibited  "  Returning  the  Salute" ; 
in  1875,  "A  Barber's  Shop  in  Tunis";  in  1876,  "Following  the 
Plow";  in  1877,  "Pampered  Menials"  and  "Relatives  in  Bond"; 
in  1878,  "An  Eastern  Question."  His  " Armorer's  Shop,"  "Needy 
Knife-Grinder,"  and  "  Modern  Acteon  "  were  at  Paris  in  1878. 

"  In  these  Eastern  pictures,  as  in  his  pictures  from  English  history  and  past  life,  Mr. 
Hodgson  has  never  deviated  from  the  lines  of  honest  workmanship,  sober  color,  and 

unaffected  earnest  conception  Mr.  Hodgson  is  neither  without  dramatic  power, 

sentiment,  sense  of  feminine  charm,  or  humor,  as  he  has  shown  in  his  '  Taking  Home 
the  Bride '  (1865),  '  Jewish  Maiden  accused  of  Witchcraft '  (1866),  '  Evening  '  (1867),  and 
'  Chinese  Ladies  '  (1868).  But  after  allowing  for  these  merits  in  the  pictures,  the  dominant 
quality  that  occurs  to  our  mind  in  connection  with  this  painter  is  modest  honesty, 
and  a  conscientiousness  pushed  to  what  some  might  call  timidity  and  tameness."  —  Tom 
Taylor,  in  English  Artists  of  the  Present  Day. 

Hoff,  Karl.  (Ger.)  Born  at  Mannheim,  1838.  Member  of  the 
Academy  at  Rotterdam.  Medals  at  Berlin,  Diisseldorf,  and  Vienna. 
Studied  at  the  Art  School  of  Carlsruhe,  and  at  the  Academy  of 
Diisseldorf.  He  adopted  the  manner  of  Vautier.  Traveled  in  Ger- 
many, France,  Italy,  and  Greece,  and  settled  in  Diisseldorf.  Genre 
painter.  At  the  National  Gallery  of  Berlin  is  his  "  Christening  Scene." 
Among  his  works  are,  "  The  Unexpected  Return  "  and  "  Vor  der 
Haideschenke." 

Hoffmann,  Heinrich  Johann  Michael  Ferdinand.  (Ger.)  Born 
in  Darmstadt,  1824.  Professor  at  the  Academy  of  Dresden.  He  stud- 
ied under  the  engraver,  Ernst  Rauch,  at  Darmstadt,  and  at  the  Diis- 
seldorf Academy  under  Th.  Hildebrandt  and  W.  Schadow.  He 
traveled  in  Holland,  remained  three  months  at  the  Academy  of  Ant- 
werp, and  went  to  Paris.  After  traveling  considerably  in  Germany, 
he  went  to  Italy.  He  was  at  one  time  a  Professor  at  Munich.  He  is 
fond  of  scenic  effects,  and  has  made  pictures  of  Bible  scenes,  and  others 
from  the  dramas  of  Shakspere,  which  have  become  well  known  by 
engravings.  He  has  executed  some  decorative  works,  especially  in  the 
Court  Theater  at  Dresden.  At  the  National  Gallery  at  Berlin  is  his 
picture  of  "  Christ  preaching  from  a  Skiff." 

Hoguet,  Charles.  (Ger.)  Born  at  Berlin  (1821  - 1870).  Medal 
at  Paris.  Member  of  the  Berlin  Academy.  Studied  under  Wilhelm 
Krause,  and  in  Paris  under  Ciceri  and  Isabey.  Visited  England  with 
Ed.  Hildebrandt.  Settled  in  Berlin  in  1848.  His  industry  was  great. 
After  1859  he  painted  two  hundred  and  twenty-four  oil-pictures,  and 
numerous  water-color  sketches.  Landscape  and  marine  painter.  In 
the  National  Berlin  Gallery  are,  "  The  Wreck  "  and  "  Mills  at  Mont- 
martre."  At  the  Johnston  sale,  New  York,  1876,  "  The  Windmill," 
water-color  (9  by  18),  sold  for  $500. 

Holfland,  Thomas  R.    (Brit.)    Son  of  Thomas  C.  Holfland,  who 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  361 


was  one  of  the  founders  of  the  Society  of  British  Artists.  Died  in 
England,  1876,  aged  about  sixty.  He  painted  little  else  than  land- 
scapes, and  these  chiefly  in  water-colors.  He  rarely  exhibited  at  the 
Eoyal  Academy.    Of  his  works  the  Art  Journal,  June,  1876,  said  :  — 

"Many  of  them  evince  a  fine  appreciation  of  rural  scenery,  and  an  ability  in  repro- 
ducing it  which,  with  culture  and  industry,  might  have  led  to  eminence." 

Holl,  William.  (Brit.)  (1807-1871.)  Son  of  William  Holl,  an 
eminent  portrait-engraver,  who  taught  him  his  art.  William  Holl 
2d,  during  his  career,  engraved  many  portraits,  and  illustrated  Moore's 
works,  Blackie's  Bible,  etc.  His  first  large  work,  executed  in  1851, 
was  "  The  English  Merry- Making,"  after  Frith,  followed  by  Frith's 
"  Village  Pastor  "  and  "  The  Gleaner,"  "  Rebekah,"  after  G.  Richmond, 
and  many  more. 

Holl,  Frank,  R.  A.  (Brit.)  Son  of  the  well-known  engraver. 
Born,  London,  1845.  Educated  at  the  School  of  the  University  Col- 
lege. Admitted  at  the  Royal  Academy  as  student  in  1860  ;  received 
a  premium  of  £  10  and  a  silver  medal  in  1862  for  the  best  drawing 
from  the  antique.  In  1863  he  received  a  gold  medal  and  a  scholar- 
ship of  £25  for  two  years,  for  the  best  historical  painting,  "Abraham 
about  to  sacrifice  Isaac."  He  first  exhibited  at  the  Royal  Academy,  in 
1864,  "  Turned  out  of  Church"  ;  in  1865,  "Fern-Gatherers"  ;  in 
1866,  "  The  Ordeal  "  ;  in  1867,  "  The  Convalescent."  In  1869,  for  a 
picture  called  "  The  Lord  gave  and  the  Lord  has  taken  away,"  he  was 
awarded  "  the  prize  of  two  years'  traveling  studentship  for  painting." 
His  "No  Tidings  from  the  Sea,"  exhibited  in  1871,  was  painted  for 
the  Queen.  In  1872  he  sent  to  the  Royal  Academy,  "  I  am  the  Res- 
urrection and  the  Life  "  ;  in  1873,  "  Leaving  Home"  ;  in  1874,  "De- 
serted "  ;  in  1876,  "  Her  First-born  "  ;  in  1877,  "  Going  Home"  ;  in 
1878  (when  he  was  elected  an  Associate  of  the  Royal  Academy)  he 
sent  "  Committed  for  Trial."  His  "  Leaving  Home  "  and  "  The  Lord 
gave,  etc."  were  at  Paris  in  1878.     [R.  A.,  1883.] 

"  '  Her  First-born,'  by  Frank  Holl,  is  a  holy  and  pathetic  subject,  skillfully  and  lov- 
ingly handled  ;  a  beautiful  and  rarely  designed  picture  of  childlike  love,  womanly  sor- 
row, and  manly  devotion  '  The  Convalescent '  is  as  remarkable  for  intuition  as 

for  high  technical  qualities  ;  for  color,  the  treatment  of  grays  may  be  commended,  and 
the  execution  is  free  as  it  is  firm."  —  Art  Journal,  January  and  August,  1876. 

"  '  The  Lord  gave  and  the  Lord  has  taken  away,'  by  Mr.  Holl,  though  painful  in  sub- 
ject, is  rendered  with  great  delicacy  and  pathos.  The  expression  of  sorrow  which  per- 
vades the  figures  and  fills  the  place  where  death  has  left  a  void  as  with  an  atmosphere 
oppressively  sad  and  afflicting,  is  wrought  out  with  great  power  and  truth.  The  picture 
manifests  a  most  penetrating  insight  of  heart-rending  grief,  yet  so  delicately  and  sympa- 
thetically depicted  that  while  we  condemn  the  choice  of  subject  we  cannot  but  admire 
the  consummate  skill  of  the  artist  evinced  in  this  remarkable  work."  — Prof.  Weir's 
Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

Holland,  James.  (Brit)  (1800-1870.)  Settled  in  London  in 
1819,  beginning  his  art  career  as  a  teacher  of  flower-painting.  First 
exhibited  at  the  Royal  Academy,  in  1824,  "  A  Group  of  Flowers/' 

16 


362     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


and  contributed  similar  subjects  for  some  }^ears.  He  went  to  France 
to  paint  and  study  in  1830,  to  Italy  in  1835,  to  Portugal  in  1837,  and 
made  many  excursions  through  Holland,  Normandy,  Switzerland,  and 
other  Continental  states.  In  1835  he  was  elected  an  Associate  of  the 
Water-Color  Society,  and  full  Member  in  1856.  In  1841  he  became 
a  member  of  the  Society  of  British  Artists.  Among  his  works  are, 
"  A  View  of  London  from  Black  Heath,"  "  Interior  of  Milan  Cathe- 
dral," "Rialto,  Venice"  (Brit.  Ins.,  1836),  "Lisbon"  (R.  A.,  1839), 
"  Greenwich  Hospital,"  "  Saint  Laurence,  Rotterdam,  —  an  October 
Morning  "  (at  the  International  Exhibition  of  1862),  and  "  Hinkley 
Fair"  (R.  A.,  1864). 

Homer,  Winslow,  N.  A.  {Am.)  Born  in  Boston,  1836.  He 
was  devoted  to  art  from  his  childhood.  At  the  age  of  nineteen  he  en- 
tered the  employment  of  a  lithographer  in  Boston  where  he  remained 
until  he  was  twenty-one.  In  1859  he  settled  in  New  York,  studying 
in  the  schools  of  the  National  Academy  and  under  F.  Rondel.  He 
has  furnished  book  and  newspaper  illustrations  for  the  Harpers  and 
other  publishers.  At  the  outbreak  of  the  Civil  War  he  went  to 
Washington,  D.  C,  sending  war-pictures  to  "  Harper's  Weekly."  His 
first  works  in  oil  were  painted  about  this  time,  including  "  Prisoners 
from  the  Front,"  "  Home,  Sweet  Home,"  "  Zouaves  pitching  Quoits," 
and  others  of  a  similar  character,  which  first  brought  him  prominently 
before  the  public  as  an  artist.  He  went  to  Europe  in  1867  or  '68, 
making  a  brief  stay.  He  was  elected  an  Associate  of  the  National 
Academy  in  1864,  and  Academician  the  following  year.  He  is  a 
member  of  the  Society  of  Painters  in  Water-Colors,  contributing  regu- 
larly to  its  exhibitions,  and  to  the  annual  exhibitions  of  the  National 
Academy.  Among  Homer's  works  are,  "  The  Bright  Side,"  "  As  You 
Like  It,"  "  The  Dinner-Hour,"  "  School-Time,"  "  Sunday  Morning," 
"  Course  of  True  Love,"  "  Milking-Time,"  "  Uncle  Ned  at  Home," 
"  In  the  Field,"  etc.  (in  oil-colors)  ;  and  "  Fly  Fishing,"  "  In  Charge 
of  the  Baby,"  "The  Gardener's  Daughter,"  "After  the  Bath,"  "The 
Blackboard,"  and  many  more  (in  water- colors).  To  the  Philadelphia 
Exhibition  of  1876  he  sent  "  Snap  the  Whip  "  (belonging  to  John  H. 
Sherwood)  and  "The  American  Type,"  in  oils;  "The  Trysting- 
Place,"  "  In  the  Garden,"  "  Flowers  for  the  Teacher,"  and  "  The  Busy 
Bee,"  in  water-colors.  To  the  Paris  Exposition  he  sent  "A  Country 
School-room "  and  "  Snap  the  Whip  "  (both  from  the  collection  of 
John  H.  Sherwood),  "A  Visit  from  the  Old  Mistress"  and  "Sunday 
Morning  in  Virginia,"  all  in  oils.  His  "  Four-Leafed  Clover  "  (water- 
color)  belongs  to  S.  V.  Wright ;  "  Dad 's  Coming  "  (in  oil),  to  Joseph 
Harper,  Jr.  His  "Prisoners  from  the  Front,"  at  the  Paris  Exposi- 
tion of  1867,  was  sold  at  the  Johnston  sale  for  $  1,800. 

"  Homer's  '  Prisoners  from  the  Front,'  an  actual  scene  in  the  War  for  the  Union,  has 
attracted  more  attention,  and  with  the  exception  of  some  inadequacy  of  color,  has  won 
more  praise,  than  any  genre  picture  from  a  native  hand  that  has  appeared  of  late  years." 
—  Tuckerman's  Book  of  the  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  363 


"  Winslow  Homer  was  represented  by  two  pictures,  'Snap  the  Whip  '  and  'The  Amer- 
ican Type,'  the  latter  a  characteristic  example  of  this  artist's  pronounced  individuality. 
The  expression  of  the  figures  is  intense,  full  of  meaning,  and  the  tenacity  of  his  grasp 
upon  the  essential  points  of  character  and  natural  fact  is  very  decided.  No  recent  work 
of  this  artist  has  equaled  the  remarkable  excellence  of  his  celebrated  '  Prisoners  from 
the  Front,'  an  incident  of  the  late  war,  which  is  a  unique  work  in  American  art ;  but 
all  his  pictures  have  the  merit  of  genuine  motive  and  aim.  They  are  often  bold  and 
crude  in  treatment,  and  unskillful  in  technical  method,  while  breadth  is  sometimes  at- 
tained by  the  sacrifice  of  essential  details  which  greater  maturity  of  power  would  sup- 
ply without  loss  to  the  former,  for  true  breadth  is  not  vacuity.  It  contains  the  sense  of 
fullness,  if  not  the  actual  facts  of  detail.  But  that  this  artist  evinces  unique  power  and 
originality  the  slightest  of  his  works  amply  testifies,  and  his  aim  is  a  sincere  and  true 
one."— Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

"Homer  paints  with  an  apparent  unconsciousness  of  all  schools  of  art,  and  of  every 
method  other  than  his  own.  Without  the  least  presumption  he  is  always  rigidly  faithful 
to  his  own  perceptions.  He  paints  the  life  that  he  sees  as  he  sees  it,  never  softens  a  line 
or  modifies  a  feature,  or  yields  for  a  moment  to  any  soft  seductions  of  beauty."  —  Art 
Journal,,  May,  1877. 

Hook,  James  Clarke,  E.  A.  (Brit.)  Marine  and  historical 
painter.  Born  in  London,  1819.  Grandson  of  Adam  Clarke,  the 
Bible  commentator.  Became  a  student  of  the  Royal  Academy  in 
1836,  receiving  in  1842  the  gold  medal  for  his  "Finding  of  the  Body 
of  Harold."  Went  to  Italy  in  1846.  Among  his  earlier  works 
are,  "  Luff  !  Boy !  "  "  Gathering  Eggs,"  "  Brambles  in  the  Way," 
and  "  The  Market  Morning."  In  1860  he  exhibited  at  the  Royal 
Academy,  "Whose  Bread  is  on  the  Waters"  and  "Stand  Clear." 
In  1861,  when  he  was  made  Academician  (having  been  elected 
Associate  ten  years  before),  he  sent  "  Leaving  Cornwall  for  the 
Whitby  Fishing"  and  "Sea-Urchins";  in  1864,  "Milk  for  the 
Schooner"  and  "Cornish  Miners  leaving  Work";  in  1865,  "The 
Mackerel  Take  "  and  "  Breton  Fishermen's  Wives  "  ;  in  1867,  "  Dig- 
ging for  Sand-Eels"  and  "  Mother  CaTey's  Chickens  "  ;  in  1868,  "The 
Morning  after  a  Gale"  ;  in  1870,  "Fish  from  the  Doggerbank"  ;  in 
1871,  "Salmon  Trappers,  Norway,"  "  Market- Girls  at  a  Fjord,"  and 
"Norwegian  Haymakers"  ;  in  1872,  "As  Jolly  as  a  Sand-Boy"  and 
"Between  Tides"  ;  in  1873,  "Fishing  by  Proxy"  ;  in  1874,  "Under 
the  Lea  of  a  Rock,"  "Jetsam  and  Flotsam,"  and  "Kelp-Burners,  Shet- 
land" ;  in  1875,  "Hearts  of  Oak"  and  "The  Samphire-Gatherer"  ; 
in  1876,  "Seaside  Ducks"  and  "Crabbers";  in  1877,  "Word  from 
the  Missing"  and  "Friends  in  Rough  Weather";  in  1878,  "The 
Coral  Fisher." 

"  If  the  giving  of  abundant  delight  be  a  source  of  happiness  to  men,  Mr.  Hook  must 

be  one  of  the  most  richly  blessed  in  this  generation  Thousands  of  Londoners, 

jaded  of  eye,  of  heart,  and  of  spirit,  have,  like  myself,  stood  before  his  pictures  and 
seemed  to  hear  the  far-off  sea  grow  louder  day  by  day,  and  thanked  him  in  their  thoughts 
for  those  vigorous  and  wholesome  previsions  of  the  sunlight  and  the  shores."— P.  G. 
Stephens,  in  English  Artists  of  the  Present  Day. 

"'The  Samphire-Gatherer'  [R.  A.,  1875]  by  J.  C.  Hook,  a  seaside  piece,  represent- 
ing a  lusty  lass  on  the  edge  of  sheer-down  cliffs,  pursuing  her  risky  calling,  while  the 
deep  blue  sea  at  foot  beats  lazily  against  a  long  shore-line  of  perpendicular  rock,  is  a 


364     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


splendid  specimen  of  sea-painting,  intensely  rich  in  tint  and  tone,  and  strikingly  illus- 
trative  of  what  has  been  said  of  Hook,  that  he  is  one  of  the  few  artists  of  the  day  capa- 
ble of  painting  Nature  as  Nature  herself  ought  to  be  painted."—  Art  Journal,  June,  1875. 

"  I  believe  that  etching  can  go  no  further  than  this  —  '  Gathering  Eggs  from  the  Cliff,' 
by  Hook  —  in  the  imitation  of  the  effects  produced  in  modern  painting.  This  plate 
so  entirely  expresses  Mr.  Hook's  manner  on  canvas,  that  it  is  not  an  exaggeration  to  say 
that  we  may  see  in  it  the  rich  copal  glazes  and  the  skillful  dry  touching  of  which  as  a 
painter  he  is  such  an  accomplished  master."  —  Hamerton's  Etching  and  Etchers. 

"  Hook's  '  Hearts  of  Oak  '  is  beautiful,  but  incomplete  ;  the  painter  wants  more  heart 
of  oak  himself.  If  he  had  let  all  his  other  canvases  alone,  and  finished  this,  the  year's 
work  would  have  been  a  treasure  for  all  centuries,  while  now  it  is  only  '  the  Hook  of  the 
season.'  It  looks  right  and  harmonious  in  its  subdued  sunshine.  But  it  is  n't.  Why 
should  mussel-shells  cast  a  shadow,  but  boats  and  hats  none  ?  Why  should  toy-carts 
and  small  stones  have  light  and  dark  sides,  and  tall  rocks  none?"  —  Ruskin's  Notes  of 
the  Academy,  1875. 

Hopfgarten,  August  Ferdinand.  (Ger.)  Born  at  Berlin,  1807. 
Royal  Professor  and  Member  of  the  Academy  of  Berlin.  Studied  at 
the  same  academy  under  Dahling,  Niedlich,  and  Wach.  He  sold  a 
picture  in  1825  which  enabled  him  to  make  the  journey  to  Rome, 
where  he  remained  five  years.  He  passed  two  summers  in  Wies- 
baden, in  order  to  decorate  the  burial  chapel  of  the  Duchess  of  Nas- 
sau. At  Berlin  he  decorated  the  castle  chapel  and  executed  other 
public  works.  At  the  National  Gallery  of  Berlin  are  his  "  Tasso  be- 
fore Leonora  d'Este  "  and  "  Studies  of  Female  Heads." 

Hopley,  Edward  W.  J.  (Brit.)  (1816-1869.)  Studied  medi- 
cine as  a  youth,  but  abandoned  that  profession  for  art  somewhat 
late  in  life,  exhibiting  at  the  Royal  Academy  his  first  picture, 
"  Psyche."  in  1851.  Later,  he  sent  to  the  Royal  Academy  and  the  Brit- 
ish Institute,  "  A  Primrose  from  England  "  (an  Australian  scene), 
"  Awake,"  "  The  Cloister,"  "  The  Bouquet,"  "  A  Spanish  Coquette," 
"Puck  and  the  Moth,"  "The  Last  Rose  of  Summer,"  "A  Daughter  of 
Eve,"  "  A  Music-Lesson,"  "  Marianne,"  and  "  The  Race  for  the  Apple," 
many  of  which  have  been  engraved.  He  painted  also  several  strong 
and  successful  portraits. 

Hoppin,  Augustus.  (Am.)  Born  in  Providence,  R.  L,  1828, 
graduating  at  Brown  University  at  the  age  of  twenty.  He  studied 
and  practiced  law  for  a  short  period  in  his  native  city,  but  turned 
his  attention  to  art,  and  spent  some  years  in  study  and  observations 
in  the  famous  galleries  of  Europe.  He  finally  devoted  himself 
to  drawing  on  wood,  and  has  been  very  successful  in  that  branch 
of  his  profession.  Among  the  earlier  works  illustrated  by  Hop- 
pin  are  the  "  Potiphar  Papers,"  "  Nothing  to  Wear,"  "  Sayings  of 
Mrs.  Partington,"  Dr.  Holmes'  "  Autocrat  of  the  Breakfast  Table." 
In  later  years,  his  "  Crossing  the  Atlantic,"  "  Ups  and  Downs," 
"  Up  the  Hill,"  and  works  of  the  same  stamp,  have  been  very  popu- 
lar. 

Hoppin,  Thomas  B.  (Am.)  Elder  brother  of  the  preceding. 
Born  in  Providence,  R.  I.,  1816.    He  displayed  a  talent  for  art  at  an 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  365 


early  age.  Studied  in  Philadelphia,  and  later  in  Paris  under  Dela- 
roche.  He  returned  to  America  in  1837,  settling  in  New  York, 
where  he  designed  the  figures  of  St.  Peter  and  St.  Paul  for  the  great 
window  of  Trinity  Church,  New  York,  and  later  modeled  a  dog  said 
to  have  been  the  first  piece  of  sculpture  cast  in  bronze  in  America. 
He  has  also  modeled  other  works  and  paid  some  attention  to  illus- 
trating. 

Horschelt,  Theodor.    (Ger.)     Born  at  Munich  (1829-1870). 

Studied  under  Romberg,  but  went  later  to  Hermann  Anschutz,  who 
confined  his  pupils  much  to  the  study  of  correct  drawing.  His  first 
picture  was  the  "  Wild  Huntsman,"  bought  by  the  Society  of  Arts  at 
Munich.  He  painted  many  hunting-scenes,  and  also  turned  his  at- 
tention to  the  war  which  then  raged  in  the  Caucasus.  At  Stuttgart 
he  studied  the  horses  in  the  Royal  stables.  In  1853  he  made  an  illus- 
tration of  "  Chamois-Hunting  in  the  Bavarian  Mountains,"  which 
was  engraved.  Soon  after  this  Horschelt  visited  Spain  and  Africa. 
In  1854  he  painted  for  the  King  of  Wiirtemberg,  "  The  Rest  of 
Arabs  in  the  Desert."  His  "  Arabian  Horse  "  and  "  A  Moorish  Camp 
at  Algiers"  soon  followed.  He  then  went  to  Russia  and  the  Caucasus. 
The  Russian  Emperor  decorated  him  with  the  Order  of  Stanislaus, 
and  with  that  of  Saint  Anna.  He  spent  much  time  among  the  guer- 
illas, and  accompanied  Alexander  II.  and  Albert  of  Prussia  in  their 
inspections  of  the  armies  in  the  Caucasus.  He  remained  about  five 
years  in  these  countries,  and  returned  through  Moscow  and  St.  Peters- 
burg. His  later  works  are,  "  Schamyl  a  Prisoner  before  Bariatinsky," 
and  "  Storming  of  the  Entrenchments  of  Schamyl  on  Mount  Gunib  " ; 
this  took  the  first  medal  at  the  Exposition  of  1867,  and  the  artist  was 
made  Chevalier  of  the  Order  of  the  Iron  Crown  of  Austria.  His 
water-colors  attracted  much  attention  ;  among  these  are  the  "  Morn- 
ing in  the  Bedouin  Camp  "  and  "  A  Cavalry  Attack."  Horschelt 
showed  a  vein  of  humor  in  little  pen-and-ink  sketches  which  he  loved 
to  make. 

Horsley,  John  C,  R.  A.  (Brit.)  Born  in  1817.  Entered  the 
Royal  Academy  schools  in  1831.  Was  one  of  the  head  masters  of  the 
School  of  Design  of  Somerset  House  ;  received  several  money  prizes 
for  his  cartoons  exhibited  at  Westminster  Hall  in  1843,  and  later.  He 
executed  "  The  Spirit  of  Prayer  "  in  the  House  of  Lords,  and  "  Satan 
touched  by  Ithuriel's  Spear  "  in  the  Poets'  Hall  of  the  new  Houses  of 
Parliament.  Among  his  early  works  are,  "  Winning  the  Game  "  and 
"The  Pride  of  the  Village,"  in  1839  ;  "  Malvolio  in  the  Sun,"  in  1849  ; 
"  Lady  Jane  Grey  and  Roger  Ascham,"  in  1853  ;  and  "  A  Scene  from 
Don  Quixote,"  in  1855,  when  he  was  elected  Associate  of  the  Acad- 
emy. His  "  Pride  of  the  Village,"  in  the  Vernon  Collection,  is  now  in 
the  National  Gallery,  London.  In  1860  he  exhibited  at  the  Royal 
Academy,  "Showing  a  Preference"  ;  in  1863,  "  The  Morning  of  St. 
Valentine"  ;  in  1866,  "Waiting  for  an  Answer"  and  "A  Pleasant 


366    ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Corner  "  (his  diploma  work  on  his  election  as  Academician).  In  1869 
he  sent  "  The  Gaoler's  Daughter  ";  in  1870,  "  Negotiating  a  Loan" 
and  "  Old  Folk  and  Young  Folk  " ;  in  1871,  "  Mary,  Queen  of  Scots  in 
Captivity  "  ;  in  1873,  "  Stolen  Glances" ;  in  1874,  "  Sunny  Effects  " 
and  £<The  Healing  Mercies  of  Christ";  in  1875,  "A  Page  in  Wait- 
ing "  and  "  A  Waiting- Maid  "  ;  in  1876,  "  Coming  down  to  Dinner" 
and  "  Under  Lock  and  Key  "  ;  in  1877,  "  The  World  Forgetting  "  and 
"Critics  on  Costume,  —  Fashions  Change";  in  1878,  "Cupboard 
Love,"  "  The  Salute,"  and  several  portraits. 

"  '  Stolen  Glances,'  by  Horsley,  although  a  common  incident,  is  open  to  many  inter- 
pretations. Here  a  company  of  cavaliers  are  assembled,  in  front  of  a  window  where 
three  young  ladies  are  criticising  the  young  men  outside.  The  purpose  of  the  painter  is 
plainly  set  forth.  There  is  much  power  and  good  work  in  the  picture,  which  perhaps 
will  be  considered  thrown  away  on  a  subject  so  commonplace."  —  Art  Journal,  June, 
1873. 

"  Mr.  Horsley  has  etched  a  few  really  good  things  amongst  others  not  so  good.  His 
touch  is  often  free  and  right,  and  his  still-life  is  usually  admirable.  When  he  spoils  a 
plate,  which  he  has  done  occasionally,  it  is  from  overwork  in  hatching."  —  Hamerton's 

Etching  and  Etchers. 

Hosmer,  Harriet.  (Am.)  Born  in  Watertown,  Mass.,  1831.  Re- 
ceiving her  education  in  Lenox,  Mass.,  she  displayed  a  taste  for  art 
at  an  early  age,  and  had  a  few  lessons  in  modeling  from  an  artist  in 
Boston.  After  leaving  school  she  spent  some  time  in  St.  Louis, 
where  much  of  her  work  is  now  owned.  She  traveled  extensively  in 
the  Western  country,  later,  opening  a  studio  in  her  native  town. 
Here  she  executed  an  ideal  head,  called  "  Hesper,"  which  attracted 
much  attention.  In  1852  Miss  Hosmer  went  to  Europe  with  her 
father  and  her  friend,  Miss  Charlotte  Cushman,  becoming  a  pupil  of 
Gibson  in  Rome.  She  copied  the  works  of  the  masters,  and  produced 
two  original  ideal  heads,  "  Daphne  "  and  "  Medusa,"  which  were  pur- 
chased by  Samuel  Appleton  of  Boston,  and  highly  praised  by  critics 
and  connoisseurs.  These  were  followed  by  the  11  Will  o'  the  Wisp  "  * 
"  Puck" ;  "  Sleeping  Faun  "  ;  "  Waking  Faun  "  ;  "  Zenobia" ;  statue 
of  Marie  Sophia,  Queen  of  the  Sicilies ;  a  monument,  in  one  of  the 
churches  in  Rome,  to  the  daughter  of  an  English  lady ;  and  other 
well-known  works. 

Her  "  Beatrice  Cenci"  is  in  the  Public  Library,  St.  Louis,  and  a 
statue  of  Thomas  H.  Benton,  in  bronze,  is  in  one  of  the  squares  of 
the  same  city. 

"  Harriet  Hosmer  is  an  example  of  a  self-made  sculptor  by  force  of  indomitable  in- 
dustry and  will.  She,  alone  of  the  women  of  America  who  have  essayed  sculpture,  has 
achieved  a  reputation.  '  Puck  '  displays  nice  humor  and  is  a  spirited  conception,  but 
*  Zenobia '  is  open  to  the  charge  of  mere  materialistic  treatment.  The  accessories  of 
queenly  costume  overpower  the  real  woman.  Indeed,  Miss  Hosmer's  strength  and 
taste  lie  chiefly  in  that  direction.  She  has  no  creative  power,  but  has  acquired  no 
small  degree  of  executive  skill  and  force."  —  Jarves,  Art  Idea. 

"  The  works  of  Harriet  Hosmer  are  all  of  a  robust,  masculine  character,  even  in  de- 
tails, as  if  wrought  out  by  hard  head-work  and  diligent  study  of  models  by  a  mind  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  367 


has  forced  itself,  as  with  a  manly  energy,  to  achieve  a  mechanical  mastery  of  a  pro- 
fession for  which  it  has  no  supreme  aesthetic  predilection."  — London  Art  Journal,  Jan- 
uary, 1871. 

"Last  August  Miss  Hosmer  arrived  in  London  from  Rome,  bringing  with  her  the 
model  of  her  latest  statue,  'The  Pompeian  Sentinel.'  This  work  of  art  was  briefly  no- 
ticed at  the  time  ;  but,  the  season  being  over,  there  were  too  few  of  the  beau  monde  in 
the  city  for  the  statue  to  receive  the  attention  it  deserved,  and  Miss  Hosmer  sent  it  back 
to  Rome  to  be  cut  in  marble.  In  the  preparation  of  this  model  Miss  Hosmer  adopted  a 
novel  method  of  workmanship.  Instead  of  using  the  traditional  clay,  she  first  con- 
structed a  rough  shape  in  plaster  of  Paris.  This  was  handled  while  soft,  and  with  little 
difficulty  the  foundation  of  the  statue,  so  to  speak,  was  laid.  When  it  had  been  brought 
into  a  general  conformity  with  the  idea  existing  in  the  artist's  mind  it  was  coated  to  the 
depth  of  about  one  inch  in  white  wax.  The  delicate  touches  of  the  modeling  knife  were 
then  all  applied  to  this  outer  coating,  and  when  the  model  was  completed  it  retained  its 
shape,  to  the  finest  line  and  furrow,  without  the  constant  care  which  a  clay  model  re- 
quires. Miss  Hosmer  regards  this  method  of  modeling  as  far  superior  to  the  old.  It 
gives  much  less  trouble,  and  can  be  worked  with  far  greater  ease,  besides  giving  the  ef- 
fect of  marble  instead  of  the  dull,  gloomy  effect  of  clay."  —  London  Letter  to  New  York 
Evening  Post,  November,  1878. 

"  Mysterious  hints  came  from  Italy  some  time  ago  that  Miss  Harriet  Hosmer  had  dis- 
covered a  new  force  more  powerful  than  water  or  steam,  and  more  subtle  than  any  mo- 
tive agent  yet  brought  under  human  control.  The  nature  of  the  discovery  was  to  be 
kept  a  profound  secret  until  the  experiments  then  going  on  had  proved  its  quality,  and 
shown  that  it  could  be  applied  like  other  forces,  only  with  greater  economy  and  to  a 
greater  variety  of  uses.  The  secret  is  out  at  last ;  the  happy  woman  is  rejoicing  in  the 
belief  that  she  has  solved  the  unsolvable  problem  ;  and  has  added  one  more  to  the  im- 
mortal names  that  were  not  born  to  die.  The  great  discovery  — for  Miss  Hosmer  has 
several  minor  ones  strung  to  her  belt  —  is  the  use  of  the  permanent  magnet  as  a  motive 
power  ;  requiring  no  battery,  no  electric  currents,  no  induced  magnetic  action  whatever  ; 
but  simply  a  magnet  applied,  by  a  simple  and  wholly  original  principle,  to  the  produc- 
tion of  power  through  its  own  inherent  and  perpetual  vitality  Miss  Hosmer  re- 
fers to  some  authorities  who  have  examined  her  discovery  and  found  it  genuine,  among 
whom  are  Mr.  Browning,  a  maker  of  scientific  instruments  in  London,  who  is  building 

her  first  engine,  and  John  Penn,  Jr.,  keeper  of  the  works  at  Greenwich  Observatory  

How  the  power  is  applied  is  still  a  secret,  but,  though  it  came  to  her  only  after  fifteen 
years  of  experiment  and  study,  it  is  still  so  simple  and  so  obvious  that  she  thinks  it 
will  prove  the  despair  of  inventors.  This  audacious  woman,  not  content  with  bringing 
forms  of  life  and  beauty  from  the  native  quarries,  has  also  turned  her  deft  hand  to  trans- 
muting limestone  into  marble.  By  an  original  application  of  pressure  and  moist  heat, 
continued  for  exactly  the  right  time,  she  claims  to  have  found  the  secret  of  producing 
from  the  common  and  abundant  limestones  of  Italy  marbles  of  the  purest  quality,  and 
as  enduring  as  that  stamped  by  Nature  herself.  And  to  show  that  this  is  no  idle  fancy, 
she  has  contracted  with  English  builders  in  Rome,  who  are  replacing  the  British  em- 
bassy building,  to  furnish  the  tiling,  wainscoting,  and  all  the  other  decorative  marbles 
required.  Miss  Hosmer  has  taken  out  patents,  both  in  England  and  America,  for  this 
marble-working  process,  and  is  giving  the  owners  of  quarries  and  all  workers  in  marble 
results  worthy  of  their  attention.  To  what  scientific  tests  these  discoveries  have  been 
put  is  not  told.  The  permanent  magnet  has  a  fishy  aspect,  and  must  take  its  place  with 
the  Keely  Motor  until  it  is  proved.  The  artificial  marble  is  not  new,  though  the  pro- 
cess may  be  ;  and  its  utility  must  depend  on  tests  not  yet  applied,  or  at  least  not  made 
public.  But,  should  they  both  fail,  Miss  Hosmer  will  still  have  greater  consolation  than 
falls  to  the  lot  of  most  women,  in  the  heaven-sent  gift  of  genius,  which  has  already  en- 
abled her  to  give  to  the  world  objects  of  beauty  and  delight  unknown  before."  —  Boston 
Daily  Advertiser,  November  11,  1878. 

Hostein,  Edouard- Jean-Marie.    (Fr.)    Born  at  Plehedel,  1812. 


368     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Chevalier  of  the  Legion  of  Honor.  This  artist  paints  marine  sub- 
jects, landscapes,  and  portraits.  He  has  traveled  in  Russia,  Switzer- 
land, and  Italy.  Hostein  has  also  made  lithographs  and  designs  for 
various  illustrated  works. 

Houghton,  Arthur  Boyd.  (Brit.)  (1836-1875.)  Before  he  be- 
came known  as  a  painter,  he  made  his  mark  by  engraving  on  wood. 
Was  a  member  of  the  Society  of  Water-Color  Painters.  He  exhibited 
at  the  Royal  Academy  in  1861,  "  A  Fisher  "  and  "  Here  i'  the  Sands  "  ; 
in  1864,  "  The  Mystery  of  Folded  Sheep  "  ;  in  1866,  "  Mending  the 
Jack  in  the  Box";  in  1867,  "Boy  Martyrs";  in  1868,  "In  the 
Garden";  in  1870  "Sheik  Hamil."  His  "Enchanted  Horse"  and 
"  Transformation  of  King  Beden,"  at  the  Water-Color  Exhibition  of 
1875,  attracted  some  attention. 

"  Neither  in  subject  nor  in  matter  of  treatment  are  Mr.  Houghton's  paintings  generally 
of  a  character  to  attract  the  attention  of  the  many,  though  his  genius  is  not  for  a  moment 
to  be  disputed."  —  Art  Journal,  February,  1876. 

Houston,  John  Adam.  (Brit.)  Born  in  Wales,  of  a  Scottish 
family,  in  1802.  He  was  educated  at  the  Trustees  Academy,  Edin- 
burgh. When  about  twenty-one  years  of  age  he  went  to  London, 
sending  his  first  picture,  "  Don  Quixote  in  his  Study,"  to  the  British 
Institute  in  1836.  He  studied  for  a  short  time  in  Germany  and 
France,  spending  the  year  1844  in  Paris,  but  making  his  home  in 
Edinburgh  from  1840  to  '58,  when  he  settled  permanently  in  London, 
where  he  still  resides.  He  was  elected  an  Associate  of  the  Royal 
Scottish  Academy  in  1841,  and  Academician  in  1844.  Among  his 
early  works,  which  were  exhibited  at  the  British  Institute,  the  Royal 
Academy,  and  the  Royal  Scottish  Academy,  may  be  mentioned,  "  An 
Incident  of  the  Crusades,"  "  The  Jew  Curiosity-Dealer,"  "  The  Se- 
creting of  the  Regalia  of  Scotland,"  "  A  Border  Raid,"  "  Roslyn  Glen," 
"  Sunday  in  the  Highlands,"  "  One  of  Garibaldi's  Men,"  "  What 's 
o'  Clock  1 "  and  "  Prospero  and  Miranda."  His  later  works  have  been, 
"  The  Foragers,"  "  Early  Sorrow,"  "  The  Captured  Banner,"  "  Faith- 
ful unto  Death"  (R.  A.,  1869),  "A  Sad  Story"  (1873),  "Fugitives 
from  Culloden"  (1875),  "After  the  Foray"  (1876),  and  "  The  Banner 
of  the  Guild  "  (1877). 

"  Mr.  Houston's  works  are  generally  of  comparatively  small  dimensions.  In  thus 
limiting  himself  he  has  not  done  justice  to  his  own  powers,  which  in  one  less  ambitious 
would  have  tempted  to  higher  flights.  He  possesses  refined  and  poetic  feeling  ;  his  man- 
ner of  painting  is  decisive  yet  delicate,  and  his  coloring  brilliant,  harmonious,  and 
quietly  effective.  His  aim  has  evidently  been  to  do  well  rather  than  to  do  much."  — 
James  Dafforne,  in  Art  Journal,  March,  1869. 

Hovenden,  Thomas,  N.  A.  (Brit.- Am.)  Born  in  Cork,  Ireland, 
1840.  He  received  his  early  art  education  in  the  Government  Art 
School,  Kensington  Department,  in  his  native  city,  and,  coming  to 
America  in  1863,  was  a  pupil  of  the  evening  classes  at  the  National 
Academy.  He  devoted  only  his  leisure  hours  to  painting,  however, 
until  1874.  when  he  resolved  to  adopt  art  as  a  profession,  going  to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  369 


Paris  for  the  purpose  of  study.  Here  he  entered  the  studio  of 
Cabanel,  remaining  about  a  year.  He  now  lives  in  Plymouth  Meet- 
ing, Pa.  To  the  National  Academy  of  New  York  in  1874  he  sent 
"The  Two  Lilies";  in  1876,  "A  Brittany  Woman  Spinning"  and 
"  Pleasant  News  "  ;  in  1877,  "  Thinking  of  Somebody  "  and  "  News 
from  the  Conscript "  ;  in  1878,  "  Pride  of  the  Old  Folks  "  and  "  Loy- 
alist Peasant  Soldier  of  La  Vendee,  1793"  (belonging  to  John  W. 
McCoy  of  Baltimore,  Md.).  To  the  Paris  Salon  of  1876  he  sent  the 
"  Image-Seller,"  and  a  portrait  in  1878.  He  contributed  to  the  Paris 
Exposition  of  1878  "A  Breton  Interior,"  1793.    [N.  A.,  1882.] 

Rowland,  Alfred  C,  N.  A.  (Am.)  Born  at  Walpole,  N.  H., 
1838.  He  spent  one  year  in  study  in  the  Academy  of  Dusseldorf,  two 
years  in  the  studio  of  Professor  Flamen  of  Dusseldorf,  and  was  pupil 
of  Emile  Lambinet  for  two  years  in  Paris.  Returning  to  America, 
where  the  rest  of  his  professional  life  has  been  spent,  he  was  elected 
a  member  of  the  Artists'  Fund  Society  in  1873,  and  an  Associate  of 
the  National  Academy  in  1874.  He  exhibited  in  1869,  "  A  Bovine 
Retreat"  (belonging  to  W.  H.  Bradford)  ;  in  1870,  "Morning  on  the 
River-Banks";  in  1871,  "The  Sunlit  Path"  (belonging  to  Gteorge 
De  Forest  Lord)  ;  in  1874,  "Old  Mill  on  the  Bushkill"  ;  in  1876, 
"  On  the  Connecticut  at  Brattleboro'  "  (belonging  to  Dr.  W.  H.  Draper) 
and  "  The  Old  Mill,  Williamstown,  Mass.  "  ;  in  1877,  "  The  Village 
Band  "  ;  in  1878, "  Winter  Sunset,  Williamstown,  Mass."  His  "  Ford's 
Glen"  (1875)  is  in  the  collection  of  G.  P.  Wetmore  ;  "Spring,"  of 
John  L.  Riker ;  "  Autumn,"  of  H.  Trison.  "  On  the  Delaware  at 
Belvidere  "  belongs  to  D.  C.  Blair  ;  and  the  "  Valley  of  the  Connecti- 
cut near  Windsor  "  and  "  On  the  Road  to  Senlisse,"  to  William  M. 
Evarts.    To  Paris,  in  1878,  he  sent  "  Ford's  Glen."    [N.  A.,  1882.] 

Hows,  John  A.,  A.  N.  A.  (Am.)  (1832-1874.)  A  graduate 
of  Columbia  College,  where  he  was  made  Master  of  Arts.  For  some 
years  a  journalist  in  New  York,  connected  with  the  Churchman  and 
Home  Journal.  Turning  his  attention  to  art,  he  furnished  successful 
illustrations  for  Appletons'  Journal,  the  Aldine,  Bryant's  "Forest 
Hymn,"  etc.  To  the  National  Academy,  of  which  he  was  an  Asso- 
ciate Member,  he  contributed,  in  oil,  in  1867,  "  An  Adirondack 
Lake"  and  "  The  Sanctuary  of  St.  Alban's  Church,  New  York  "  ;  in 
1869,  "  Adirondack  Woods  "  ;  in  1871,  "  Paul  Smith,  St.  Regis  "  ;  etc. 
His  "  On  the  Knysna  River,"  belonging  originally  to  Francis  Barbour 
Ogden,  is  now  the  property  of  the  Arcadian  Club.  One  of  his  later 
works,  a  church  interior,  is  in  the  possession  of  Oliver  B.  Bunce. 

Hubbard,  Richard  W.,  N.  A.  (Am.)  Native  of  Middletown, 
Ct.  Resided  for  some  years  in  New  York ;  at  present  has  a  studio 
in  Brooklyn.  He  was  elected  a  member  of  the  National  Academy  in 
1858.  Is  President  of  the  Artists'  Fund  Society  of  New  York  and  of 
the  Brooklyn  Art  Association.  Among  his  early  works  are,  "  Mans- 
field Mountains  at  Sundown,"  "  Showery  Day,  Lake  George,"  etc. 
16*  x 


370     ARTISTS  OF  THE  NINETEENTH  CENTURY. 

To  the  National  Academy  in  1869  he  sent  "  Meadows  near  Utica"  ; 
in  1870,  "Twilight";  in  1871,  "High  Peak,  North  Conway";  in 
1874,  "Vermont  Hills";  in  1875,  "Coming  Storm"  ;  in  1877,  "Along 
the  Sound  "  ;  in  1878,  "  Hilltop  "  and  "The  Valley  of  the  Connecti- 
cut." To  Philadelphia,  in  1876,  he  sent  "The  Coming  Storm," 
"  Early  Autumn  "  (belonging  to  Judge  Benedict),  and  "  Glimpse  of 
the  Adirondacks"  (belonging  to  R.  M.  Olyphant).  His  "Hudson 
River  at  Hastings  "  is  in  the  possession  of  Samuel  V.  Wright. 

"  The  repose  of  Hubbard's  landscapes  appeals  mainly  to  the  contemplative  and  patient, 
we  had  almost  said  pensive,  observer.  Their  tone  is  usually  subdued,  their  beauty 
poetic  ;  occasionally  the  effects  are  exquisite.  They  may  lack  vigor,  but  rarely  meaning 
and  grace."  —  Tuckerman's  Book  of  the  Artists. 

"Mr.  Hubbard  exhibited  his  'Early  Autumn,'  'Coming  Storm,' and  'Glimpse  of  the 
Adirondacks ' ;  the  latter  a  characteristic  example  of  his  style,  and  luminous  in  its  cloud 
effects.  Mr.  Hubbard  is  particularly  pleasing  in  his  treatment  of  summer  landscapes 
and  afternoon  skies,  in  which  class  of  subject  his  art  is  attractive  and  often  brilliant  in 
its  rendering  of  light  and  atmosphere,  yet  with  a  quiet'  and  subdued  tone.  His  style 
is  not  always  equal,  but  it  is  expressive  of  true  artistic  sensibility  and  sincere  motive." 
—  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

Hiibner,  Rudolf- Jules-Benno.  (Ger.)  Born  at  Ols,  Silesia, 
1806.  Member  of  the  Academies  of  Berlin,  Dresden,  and  Philadel- 
phia. Professor  at  Diisseldorf.  Director  of  the  Royal  Gallery  at 
Dresden.  Large  gold  medal  at  Brussels.  Studied  at  Berlin  under 
Wilhelm  Schadow,  whom  he  followed  to  Diisseldorf.  His  subjects 
are  historical  and  religious.  He  has  executed  an  altar-piece,  "  Christ 
and  the  Evangelists."  His  "  Christ  amidst  the  People  "  was  for  the 
principal  church  at  Meissen.  At  the  National  Gallery,  Berlin,  are  his 
"  Infant  Jesus,"  "  A  Protecting  Angel,"  "  Ruth  and  Naomi,"  and 
"  The  Golden  Age."  He  painted  a  fine  portrait  of  the  Emperor  Fred- 
erick III.  for  the  city  of  Frankfort.    [Died,  1882.] 

Hiibner,  Karl  Wilhelm.  (Ger.)  Born  at  Konigsberg,  1814. 
Chevalier  of  the  Order  of  Leopold.  Royal  Professor  at  Diisseldorf. 
Member  of  the  Academies  of  Amsterdam  and  Philadelphia.  Medal 
at  Metz.  Studied  at  Diisseldorf  Academy  and  under  W.  von  Scha- 
dow and  K.  Sohn.  Resides  in  Diisseldorf.  Has  visited  America. 
His  picture  of  "  The  Poacher's  Death  "  (38  by  53)  was  sold  at  the 
Johnston  sale,  New  York,  in  1876,  for  $  1,600.  This  picture  made 
such  an  impression  in  Germany  that  the  game  laws  were  changed 
on  account  of  the  argument  it  presented.  His  chef-d'oeuvre,  "  The 
Rescue  from  the  Flames,"  is  in  a  private  collection  in  San  Fran- 
cisco. At  the  Avery  sale,  New  York,  1878,  "  The  End  of  Litigation  " 
sold  for  $  300.  In  the  National  Gallery  at  Berlin  is  "  A  Sinning 
Woman  near  the  Church  Door."  Among  his  other  works  are,  "  The 
Widow's  Mite,"  "  Das  Seltene  Familiengliick,"  "  The  Soldiers'  Quar- 
ters in  Weinlande,"  and  "  The  Twins."  At  the  Walters  Gallery, 
Baltimore,  is  his  "  Emigrant's  Adieu."  Mr.  T.  R.  Butler  of  New 
York  has  his  "Reading  the  Scriptures."     [Died,  1879.] 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  371 


Huet,  Paul.  (Fr.)  Born  at  Paris  (1804  - 1869).  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  l'Ecole  des  Beaux- Arts,  of  Guerin 
and  Gros.  He  traveled  much,  and  in  1839  painted  views  of  "  The 
City  of  Rouen  "  and  "  The  Chateau  d'Arques,"  for  the  Diorama  Mon- 
tesquieu, which  were  much  admired,  and  of  which  M.  Sainte-Beuve 
wrote  a  flattering  critique.  Huet  has  employed  water-colors,  cray- 
ons, lithography,  and  etching  in  his  work.  Among  his  pictures  may 
be  mentioned  "  A  Landscape  "  (1831),  purchased  by  Victor  Hugo  ; 
"  A  Thicket "  (1835),  purchased  by  the  government  ;  "  Chateau 
d'Arques  "  (1840),  Museum  of  Orleans  ;  "  The  Beach  at  Houlgatt  " 
(1863),  purchased  by  the  Ministry  of  State.  In  1869  Huet  exhibited 
"  The  Laita  at  High  Tide  in  the  Forest  of  Quimperle,  Brittany," 
"  Fishermen  drawing  a  Net  on  the  Beach  at  Houlgatt,  High  Sea,"  also 
five  sketches  and  ten  etchings  ;  in  1868,  "  Ruins  of  the  Chateau  of 
Pierrefonds  "  and  "  Fontainebleau  "  ;  in  1867,  "  The  Chateau  of  Pierre- 
fonds  Restored,"  purchased  by  the  Ministry  of  the  Beaux-Arts,  and 
"  Summer  Evening,  —  the  Bathers  "  ;  in  1866,  "  The  Wood  at  the 
Hague,  —  Setting  Sun  with  a  Fog  in  Autumn  "  ;  etc. 

"  Paul  Huet  will  live  by  his  works  ;  he  will  mark  the  history  of  art  in  our  time  by  the 
part  which  he  took  in  the  first  movements  of  the  romantic  renaissance.  He  is  the  first 
of  our  lyric  landscape-painters.  He  was  more  of  a  precursor  than  a  revolutionist.  By 
the  episodes  which  he  introduced  into  his  compositions,  by  the  tendency  to  effect,  he 

appears  more  as  a  literary  than  as  a  bold  landscape-painter  But,  for  his  time, 

he  has  been  bold  and  sincere.  We  will  not  forget  that  the  powerful  putting  forth  of 
Theodore  Rousseau  and  Jules  Dupre  has  grown  in  the  soil  which  Paul  Huet  has  cleared 
and  plowed.''— -Philippe  Burty,  Gazette  des  Beaux-Arts,  April,  1869. 

Hughes,  Ball.  (Brit.-Am.)  Born  in  London  (1804  -  1868).  He 
evinced  a  decided  taste  for  art  at  an  early  age,  was  a  pupil  of  the 
Royal  Academy  in  London,  gaining  several  medals  for  sculpture 
while  still  a  youth,  and  was  for  six  or  eight  years  in  the  studio  of 
Edward  H.  Baily,  R.  A.,  making  busts  of  George  IV.  and  other 
members  of  the  Royal  Family.  He  went  to  America*  in  1829, 
where  the  rest  of  his  professional  life  was  spent.  His  statue  of  Alex- 
ander Hamilton  was  destroyed  by  fire,  with  the  Merchants'  Exchange, 
in  New  York  in  1835.  He  is  the  author  of  the  monument  to  Bishop 
Hobart  in  Trinity  Church,  New  York,  and  of  the  statue,  in  bronze,  of 
Nathaniel  Bowclitch  in  Mount  Auburn.  Several  of  his  works  are  in 
the  Boston  Athenseum. 

Hughes,  Arthur.  (Brit)  Born  in  London,  1832.  He  was  a  stu- 
dent of  the  Royal  Academy,  gaining  a  silver  medal  in  the  antique 
school.  He  has  spent  his  professional  life  in  his  native  city.  His 
earliest  picture  exhibited  at  the  Royal  Academy  was  "  First  Love," 
painted  about  1854.  In  1864  he  sent  "  The  Eve  of  St.  Agnes,"  "  The 
Music  Party,"  "Sunbeam  in  Church,"  and  "Silver  and  Gold";  in 
1865,  "Home  from  Work"  and  "The  Mower";  in  1866,  "Good 
Night";  in  1870,  "Sir  Galahad"  and  "Endymion";  in  1873,  "The 
Lady  of  Shalott"  and  "The  Convent  Boat"  ;  in  1878,  "Vanity"  and 


372     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Uncertainty."    His  "  Convent  Boat "  was  at  the  Philadelphia  Exhi-  , 
bition  in  1876..  jfczjt  lq08,     KTHl^a^j^  ^  /lA^fc^yW^fe^ 

"Mr.  Hughes  maintains  the  place  which  he  has  long  taken  as  one  of  our  best  poetical  'MAI^g 

inventors  within  the  range  of  idyllic  art  A  peculiar  mannerism  in  color  interferes^^^**^ 

with  the  popular  recognition  of  the  merits  of  this  artist,  and  gives  a  kind  of  monotony  to  ffY(\, 
his  work.   We  cannot  hut  wish  he  would  quit  for  a  time  that  delicate  and  graceful  line 
of  subjects  with  which  he  has  familiarized  us,  and  try  his  powers  on  rougher  and  stronger  {2 
scenes.    There  is  such  a  mark  of  individuality  in  all  he  does  that  he  need  not  fear  he  r*'^ 
would  lose  himself."  —  Palgrave's  Essays  on  Art. 

"Although  not  one  of  the  originating  pre-Raphaelite  painters,  Mr.  Arthur  Hugh- 
was,  from  a  very  early  date  in  the  movement,  an  interested  and  deeply  sympathetic  auxil- 
iary His  drawing  is  delicate  and  mostly  sound,  without  having  any  of  that 

strength  which  is  needed  on  great  attempts  ;  his  color  is  clear,  attractive,  and  even  har- 
monious, although  with  a  kind  of  false  note  in  an  extra  tendency  towards  hues  of 
purple,  and  of  green  and  orange  in  combination  with  these.  His  main  characteristic 
might  be  defined  as  a  spirit  of  grace,  speaking  chiefly  through  the  domestic  sympathies  ; 
of  grace  in  an  artistic  sense,  and  almost  in  the  religious  sense  as  well,  so  deeply  and 
purely  expressive  is  it."  —  William  M.  Rossetti,  in  English  Painters  of  the  Present  Day. 

Hugues,  Dominique- Jean-Baptiste.  (Fr.)  Bom  at  Marseilles. 
Pupil  of  A.  Dumont  and  Bonnassieux.  Medal  of  third  class  at  the 
Salon  of  1878,  where  he  exhibited  a  plaster  bas-relief  of  the  "  Baptism 
of  Christ." 

Hulme,  Frederick  William.  (Brit.)  Born,  1816.  Son  of  an  artist 
who  had  considerable  reputation  in  Yorkshire,  and  under  whom  he 
studied.  Hulme  settled  in  London  in  1844,  exhibiting  at  the  Royal 
Academy  and  the  British  Institution,  from  time  to  time,  and  furnishing 
book  illustrations  for  several  publishers.  He  sent  to  the  Royal  Acad- 
emy, in  1860,  "  Sweet  Summer-Time";  in  1862,  "  Sunday  Afternoon  "; 
in  1865,  "An  English  Pastoral";  in  1867,  "Autumn  Time";  in  1869, 
"  The  Close  of  Day  ";  in  1870,  "  Near  Ripley,  Surrey  ";  in  1871,  "  On 
an  English  River";  in  1872,  "  Sermons  in  Stones";  in  1873,  "Rest"; 
in  1874,  "Ins  and  Outs  of  a  Welsh  River";  in  1877,  "  Snowdon, 
North  Wales  ";  in  1878,  "  At  Pont  Ceffyng,  North  Wales." 

"There  is  nothing  careless  or  untutored  about  'The  Rest'  [R.  A.,  ]873],  of  F.  W. 
Hulme.  Rather,  if  it  errs,  it  is  by  lack  of  warmth  and  sympathy.  But,  making  allow- 
ance for  a  certain  coldness,  there  is  much  merit  in  the  painter's  treatment  of  cloud  and 
the  impression  of  breezes,  which  he  manages  to  convey."  —  Art  Journal,  July,  1873. 

Humbert,  Ferdinand.  (Fr.)  Born  at  Paris.  Medals  in  1866, 
?67,  and  '69.  Pupil  of  Picot,  Fromentin,  and  Cabanel.  His  "  Virgin, 
Infant  Jesus,  and  St.  John  the  Baptist "  (1874)  is  in  the  Luxembourg. 
At  the  Salon  of  1877  he  exhibited  "  Christ  pardoning  the  Adulteress"; 
in  1876,  a  portrait  of  a  lady  ;  in  1875,  "Christ  at  the  Column";  in 
1878,  "The  Rape  of  Dejanira." 

Hunin,  Alouis-Pierre-Paul.  (Ger.)  Born  in  Bavaria  (1808- 
1855).  Several  medals  at  Belgian  Expositions.  Studied  under  his 
father  and  Braekeleer,  and  under  Ingres  and  Cogniet  at  Paris.  Genre 
painter.  At  the  Berlin  National  Gallery  is  his  "  Reading  of  the  Will." 

Hunt,  William  Henry.    (Brit.)    (1790-1864.)    Student  of  John 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  373 


Varley,  an  eminent  water-color  painter.  He  also  studied  at  the  Royal 
Academy,  and  first  exhibited  there,  in  1807,  "A  Scene  near  Hounslow." 
Hunt  was  a  member  of  the  Society  of  Painters  in  Water-Colors,  but 
not  of  the  Royal  Academy.  He  painted  "  The  Attack "  and  "  The 
Defeat,"  humorous  pictures  of  the  struggle  of  a  small  boy  with  a 
huge  pie,  made  familiar  by  engraving,  and  a  "  Brown  Study,"  "  Study 
of  Gold,"  "  Study  of  Rose  Grey,"  "  Study  of  Hyacinths,"  and  "  Dead 
Humming- Bird." 

"  Hunt  was  fond  of  rustic  life  and  of  common  familiar  things,  but  treated  the  home- 
liest subject  with  a  delicate  perception  of  its  merits  which  removed  it  from  vulgarity. 
Hunt's  fruits  and  flowers  were  wonders  of  loving  fidelity  and  exquisite  color."  —  Mrs. 
Tytler's  Modern  Painters. 

"  Hunt  had  a  remarkable  power  of  rendering  the  effect  of  daylight  oh  the  surface  of 
objects,  —  a  power  equal  to  that  of  the  Dutch  painter,  De  Hooghe."  —  Redgrave's  Cen- 
tury of  Painters. 

"  Hunt's  style  was  marked  by  the  simplicity  and  modesty  which  we  have  mentioned 
as  characterizing  his  disposition.  From  first  to  last  it  was  the  same  quiet,  incessant, 
humble-hearted  obedience  to  the  nature  which  he  wished  to  reproduce  and  to  fix  in  art. 
....  Passing  from  the  materials  of  the  work  to  the  artist's  power  in  applying  them, 
Hunt  may  be  said  to  have  united  in  a  very  rare  degree  the  two  great  elements  of  paint- 
ing. His  absolute  command  of  drawing  (within  a  certain  range  of  subjects)  enabled  him 
to  lay  on  color  with  certainty  of  effect.  His  natural  instinct  for  color  enabled  him  to 
give  the  fullest  expression  to  the  subtleties  of  the  natural  form  which  he  had  so  com- 
pletely mastered  A  peculiar  refinement  of  feeling  and  sense  of  the  poetic  in 

nature  led  him,  lastly,  to  give  his  subjects,  whether  in  their  idea  or  in  their  execution,  a 
grace,  we  might  almost  say  an  elaboration,  in  which  he  stands  almost  alone. "  —  Pal- 
grave's  Essays  on  Art. 

Hunt,  William  Morris.  (Am.)  Born  in  Brattleboro',  Vt.,  1824. 
In  1846  entered  the  Academy  in  Diisseldorf.  It  was  his  original  in- 
tention to  become  a  sculptor,  but  he  soon  abandoned  this  design  and 
studied  painting  under  Couture  in  Paris.  For  three  years  he  exhib- 
ited in  the  Paris  Salons,  and  since  completing  his  art  studies  had 
lived  and  painted  much  in  Europe.  In  America,  his  studios  were  in 
Boston,  and  Newport,  R.  I.  Hunt  has  painted  many  portraits  of 
noted  people,  and  is  the  author  of  many  original  sketches  of  types  of 
Parisian  life,  made  familiar  to  the  public  by  means  of  his  own  litho- 
graphic copies;  among  them  are,  "  The  Street  Musician,"  "  Girl  at  the 
Fountain,"  and  "  Child  selling  Violets."  Among  his  larger  and  more 
important  works  are,  "  The  Morning  Star,"  "  The  Lost  Kid,"  "  The 
Marguerites,"  "  The  Drummer  Boy,"  "  The  Bugle-Call."  "  The  Boot- 
Black"  was  at  the  Centennial  Exhibition  of  1876.  Among  his  por- 
traits may  be  mentioned  those  of  Judge  Shaw  of  Massachusetts  (be- 
longing to  the  Essex  County  Bar),  Governor  Andrews,  James  Freeman 
Clarke,  James  M.  Beebe,  Charles  Sumner,  and  Oakes  Ames.  Ex-Gov- 
ernor Claflin  of  Massachusetts  has  in  his  collection,  "  A  Roman  Girl," 
"  Tennyson's  Mariana,"  and  two  portraits  by  Hunt.  Mr.  John  Duff 
of.  Boston  owns  his  "  Plowing."  Thirty  of  his  pictures  were  exhib- 
ited in  Boston  in  1877,  and  several  in  the  Mechanics'  Fair  in  1878. 
He  was  commended  by  the  judges  at  Philadelphia  in  1876  for  artistic 
excellence  in  a  portrait  exhibited  there.    [Died,  1879.] 


374     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


The  following  extract  from  the  Albany  Argus  gives  an  account 
of  Hunt's  mural  paintings  (1878)  in  the  Assembly  Chamber  of  the 
new  State  Capitol  at  Albany  :  — 

"  Against  the  walls  on  the  north  and  south  sides  of  the  chamber,  some  fifty  or  sixty- 
feet  above  the  floor,  and  connected  by  a  light  gallery  supported  by  trusses,  are  the  scaf- 
folds upon  which  Mr.  William  M.  Hunt,  the  celebrated  Boston  artist,  stands  to  reach  the 
large  spaces  between  the  upper  series  of  windows  and  the  ceiling,  which  he  is  filling  with 
two  allegorical  paintings.  ....  The  subjects  adopted  have  been  chosen  with  great  care, 
having  been  sketched  and  done  in  colors,  in  various  sizes,  a  score  of  times  or  more. 
They  are  appropriate  in  every  respect,  and  will  be  finished  in  such  a  manner  that  New- 
Yorkers  may  rest  assured  their  ears  will  never  burn  at  hearing  such  criticisms  as  are  vis- 
ited upon  the  decorations  of  the  rotunda  of  the  Capitol  at  Washington.  Upon  the  north 
side  of  the  Chamber  is  represented  the  East  and  Morning.  In  the  center  of  the  pic- 
ture are  three  horses  of  different  colors,  rearing  and  plunging  in  the  full  tide  of  the 
most  animated  career,  among  the  mists  of  the  upper  regions,  preceding  a  female  figure 
representing  Luna,  the  fair  guardian  of  the  night  and  sleep,  sitting  in  the  curve  of  the 
thin  crescent  moon.  A  little  below  and  slightly  in  the  rear  of  the  goddess  are  depicted 
a  mother  and  child,  locked  in  sweet  and  peaceful  repose,  screened  from  the  disturbing 
rays  of  the  rising  sun,  before  which  Luna  flees  away,  by  a  veil  of  cloud  upheld  by  attend- 
ants of  the  mistress  of  the  night.  As  it  would  be  unseeming  to  burden  the  goddess  with 
the  guidance  of  her  steeds,  and  they  must  needs  have  some  direction,  a  swarthy  Doeg, 
with  one  hand  upon  the  nostrils  of  one  of  the  fiery  animals,  peers  forward  into  the  dark- 
ness toward  which  they  are  plunging.  His  touch  is  the  only  suggestion  of  restraint  in  any 
of  the  figures.  All  else  is  full  of  the  most  free  and  vigorous  action.  On  the  south  side 
of  the  chamber  is  a  complementary,  although  quite  different  conception,  typifying  the 
West  and  Evening.  The  mists  of  the  upper  air  are  here  replaced  by  the  waves  of  the  sea, 
and  upon  the  crest  of  a  swelling  billow  rises  a  fragile  boat.  In  the  center  of  the  vessel 
stands  an  ideal  representative  of  Discovery  gazing  on  the  setting  sun,  whose  course  he 
seeks  to  follow  in  his  search  for  new  worlds  to  be  added  to  the  dominion  of  civilization. 
Winged  Fortune  governs  his  way,  with  left  hand  on  the  helm,  and  upon  the  right  arm 
upraised  a  banner  to  catch  the  favoring  breeze  which  wafts  them  onward.  In  advance 
of  the  boat,  prone  on  the  surface  of  the  deep,  blind  Faith  leads  the  train.  Hope, 
resting  on  one  arm  on  the  prow  of  the  boat,  encourages  Discovery  by  her  looks,  and  with 
outstretched  hands  points  forward.  Beside  the  boat  Science,  riding  the  flood,  spreads 
before  the  central  figure  the  charts  which  show  the  discoveries  of  others,  and  upon 
which  he  is  to  spread  the  results  of  his  observations.  This  work  being  all  above  the 
openings  by  which  light  enters  the  room,  daylight  does  not  serve  for  it ;  and  Mr.  Hunt 
and  his  assistants  find  the  best  time  to  draw  their  lines  and  spread  their  colors  at  night. 
....  Then  by  the  concentrated  rays  of  the  calcium  light,  the  figures  take  form  and  life 
which  soon  shall  delight  the  eye  and  promote  the  culture  of  every  visitor  to  our  magnifi- 
cent Capitol. " 

"  William  M.  Hunt  is  one  of  those  who  are  overinclined  to  disregard  force  of  design 
for  subtleties  of  expression  and  color,  but  it  is  so  deliciously  done,  and  with  so  tender  or 
fascinating  a  sentiment,  that  one  scarce  notes  the  deficiency  of  special  artistic  virtue 

in  the  attractiveness  of  the  whole  picture  His  style  is  vaporous  and  diaphanous, 

and  unpronouneed  in  outline,  in  fact  too  unsubstantial,  but  singularly  clear,  broad,  and 
effective."  —  Jarves,  Art  Idea. 

"The  landscapes  are  less  marked  in  coloring  or  treatment  than  some  of  the  figures  ; 
one  of  these  latter,  of  an  Oriental  youth,  is  especially  remarkable  for  exquisite  expres- 
sion and  graceful  drawing,  and  a  portrait  of  a  little  girl  was  also  worthy  of  attention."  — 
Art  Journal,  July,  1877. 

"  In  all  the  landscapes  and  landscape  studies,  which  formed  so  large  a  part  of  Mr. 
Hunt's  two  exhibitions,  will  be  recognized  the  power  to  see  rightly,  and  the  ability  to  ex- 
press briefly  and  strikingly.   The  union  of  these  two  qualities  constitutes  what  is  called 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  375 


strength  in  art.  United  with  these  will  also  be  found,  in  all  of  Mr.  Hunt's  works,  how- 
ever rough  and  unfinished,  a  refinement  which  is  always  the  concomitant  of  '  true 
strength.'"  —  Three  Boston  Painters,  Atlantic  Monthly,  December,  1877. 

Hunt,  William  Holman.  {Brit.)  Born  in  London,  1827.  Re- 
ceived his  art  education  in  the  schools  of  the  Royal  Academy,  and 
exhibited  his  first  picture  in  1846.  Among  his  earlier  works  are, 
"Valentine  rescuing  Sylvia  from  Proteus,"  in  1851 ;  "  Hireling  Shep- 
herd/' in  1853  ;  "  The  Awakened  Conscience  "  and  "  The  Light  of 
the  World,"  in  1855  ;  and  "  The  Scapegoat,"  in  1856.  He  exhibits 
rarely  at  the  Royal  Academy,  of  which  he  is  not  a  member.  His 
"  Isabella  and  the  Pot  of  Basil "  was  sold  at  the  Johnston  sale  in 
1876  for  $  2,650.  His  "  Christ  discovered  in  the  Temple  "  was  sold 
for  £  5,000  in  England.  One  of  his  latest  works  is  "  The  Flight  into 
Egypt,"  upon  which  he  has  spent  several  years  of  labor  and  study. 
He  has  at  present  a  studio  in  Jerusalem,  making  that  city  his  home,  6 
with  occasional  visits  to  England. 

"  '  The  King  of  Hearts  '  [R.  A.,  1863],  by  Holman  Hunt,  is  one  of  those  brilliant  little 
works,  true  and  complete  in  every  touch,  which  we  know  will  speak  as  clearly  to  spec- 
tators five  hundred  years  hence,  if  paint  and  canvas  keep  together  so  long,  as  in  186U. 
....  The  child's  eyes  are  full  of  life  and  light,  and  the  sunny  smile  on  his  face  seems 
to  presage  success.  His  features  and  dress,  with  a  lovely  landscape  background,  are 
handled  with  Mr.  Hunt's  well-known  faithful  delicacy. "  —  Palgrave's  Essays  on  Art. 

"  Mr.  Holman  Hunt's  '  Isabel '  is  a  miracle  of  disappointment,  or  rather,  not  to  speak 
at  random  concerning  an  artist  so  laborious  and  so  eminent,  a  miracle  of  labor  and  of 
technical  resource,  and  yet  a  total  miscarriage  of  conception  of  the  beautiful  poem  of 

Keats  However,  when  I  confess  that  I  greatly  admire  some  of  Holman  Hunt's 

pictures,  I  must  in  common  honesty  not  deny  that  I  cannot,  for  instance,  bring  myself  to 
like  his  pea-green  Christ  in  'The  Light  of  the  World.'  ....  His  'Afterglow,'  one  of  his 
most  ambitious  pictures,  I  really  admire  sincerely." —  Bernard  Cracroft,  in  Fortnightly 
Review,  1866. 

"When  thirty-four  years  of  age,  Holman  Hunt  painted  'Christ  discovered  in  the 
Temple,'  which  thousands  flocked  to  see,  not  only  in  London,  but  in  every  town  where 
it  was  exhibited,  for  the  public  verdict  on  it  was  that,  whatever  its  imperfections,  it  was 
the  one  modern  English  picture  which  thrilled  the  spectators  as  with  a  glimpse  of  the 
divine."  —  Mrs.  Tytler's  Modern  Painters. 

"  And  Mr.  Hunt  himself,  as  slow  and  reflective,  as  thoughtful  and  as  fastidious,  as 
Leonardo,  only  more  concentrated,  is  the  most  perfect  example  of  active  transcenden- 
talism in  our  art,  and  his  '  Christ  in  the  Temple  '  its  noblest  result. "  —  Hamerton's 
Thoughts  About  Art. 

"  Yet  neither  that  picture  ['  Christ  in  the  Temple '],  great  as  it  is,  nor  any  other  of 
Hunt's,  is  the  best  he  could  have  done.  They  are  the  least  he  could  have  done.  By  no 
expedient  could  we  have  repressed  him  more  than  he  has  been  repressed  ;  by  no  abne- 
gation, received  from  him  less  than  we  have  received. "  —  Ruskin's  Modern  Painters. 

"Mr.  Holman  Hunt  exhibits  a  portrait  of  himself  which  is  rather  .curious  than  pleas- 
ing. It  is  thoughtful  and  serious,  as  Mr.  Hunt's  work  always  is  ;  but  the  coloring  is  dis- 
agreeable. It  is  to  be  regretted  that  this  artist  was  not  more  adequately  represented. 
Certainly  no  pictures  would  have  had  greater  interest  for  his  many  friends  in  this  coun- 
try than  those  which  have  made  his  name  so  widely  and  favorably  known."  —  Prof. 
Weir's  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

Hunt,  Richard  M.  (Am.)  Born  in  Brattleboro',  Vt.,  1828.  After 
studying  architecture  in  his  native  country,  he  went  to  Europe  in 


376     ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


1843,  entering  the  School  of  Fine  Arts  in  Paris,  and  spending  some 
time  under  Hector  Lefuel.  He  visited  Greece,  Asia  Minor,  Egypt, 
and  the  art  centers  of  the  Continent,  and  assisted  Lefuel  in  the  erec- 
tion of  the  buildings  which  unite  the  palaces  of  the  Tuileries  and  the 
Louvre.  He  returned  to  America  in  1855,  and  was  engaged  upon 
the  extension  of  the  Capitol  at  Washington.  Among  the  prominent 
American  buildings  designed  by  Hunt  may  be  mentioned,  the  Trib- 
une Building,  the  Lenox  Library,  the  Presbyterian  Hospital,  and 
others  in  New  York  ;  the  Divinity  College,  connected  with  Yale,  in 
New  Haven  ;  and  many  more  in  Boston,  Newport,  and  elsewhere. 

Hunt,  Alfred  William.  (Brit.)  Born  in  Liverpool,  1831.  Son 
of  a  landscape  artist,  from  whom  he  received  his  art  education.  He 
graduated  at  the  University  of  Oxford,  and  did  not  turn  his  attention 
to  painting  as  a  profession  until  he  was  about  twenty-five  years  of  age. 
He  has  been  an  active  member  of  the  Society  of  Painters  in  Water- 
Colors  for  some  years,  sending  regularly  a  large  number  of  drawings 
to  its  exhibitions,  and  contributing  frequently  to  the  Royal  Academy. 
To  the  latter  gallery  he  sent,  in  1860,  "  Flow  and  Wind  "  ;  in  1862, 
"  Debatable  Ground  "  ;  in  1870,  "  Morning  Mist  on  Loch  Maree  "  ;  in 
1871,  "Goring  Lock  on  the  Thames"  ;  in  1872,  "Moon  rising  over 
Bamburg  "  ;  in  1874,  "  From  Moor  to  Mount "  ;  in  1876,  "  Summer 
Days  for  Me  !  "  ;  in  1877,  "  On  the  Coast  of  Yorkshire."  Among  his 
water-color  paintings  may  be  mentioned,  "  Durham  Misty  with  Col- 
liery Smoke,"  "  Loch  Torridon,"  "  Streatley  on  the  Thames,"  "  Bam- 
borough  from  the  South,"  "  When  Summer  Days  are  Fine,"  "  Going 
Nutting,"  "  Cloud  March  at  Twilight,"  etc.  Several  of  his  landscapes 
were  at  the  Paris  Exposition  of  1878. 

"Mr.  Hunt  is  among  the  very  few  of  our  landscape-painters  who  have  gained  a  new 
mastery  over  the  realities  of  landscape  without  sacrificing  the  poetical  qualities  of 
noble  art."  —  Art  Journal,  August,  1874. 

"  I  am  at  some  pains  in  expressing  my  pleasure  in  the  realization  of  this  beautiful 
scene  ['  Summer  Days  for  Me  ! '],  because  I  have  personal  interest  in  it,  my  own  familiar 
summer  walk  being  through  this  very  field.  As,  however,  I  was  far  away  at  Assisi 
when  the  artist  painted  it,  and  had  nothing  whatever  to  do  with  either  the  choice  or 
treatment  of  his  subject,  it  is  not  indecorous  for  me  to  praise  a  work  in  which  I  am  able 
so  securely  to  attest  a  fidelity  of  portraiture  happily  persisted  in  without  losing  the 
grace  of  imagination."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Him  ten,  Emil  Johann.  (Ger.)  Born  in  Paris,  1827.  Medals  at 
Berlin  and  Vienna,  and  other  honors.  Member  of  the  Berlin  Academy. 
Pupil  of  H.  Flandrin,  Wappers,  and  Dyckmann.  He  also  associated 
himself  with  Camphausen  at  Diisseldorf,  and  through  his  influence 
devoted  himself  to  battle-painting.  In  1864  he  saw  the  battle-field  for 
the  first  time  in  Denmark,  and  since  then  has  seen  much  service  in 
various  campaigns.  His  pictures  have  often  been  lithographed  ;  they 
illustrate  Prussian  history  of  all  times.  At  the  National  Berlin  Gal- 
lery is  his  "  Struggle  with  French  Cavalry  at  Elsasshausen,  August  6, 
1870." 


ARTISTS  OF  THE  NINETEENTH  CENTURY-  377 


Hunter,  Colin,  A.R.  A.  (Brit)  Born  in  Glasgow,  1842.  As  an 
artist  he  was  self-taught,  studying  directly  from  nature.  His  studio 
was  in  his  native  city  for  some  years.  At  present  he  is  a  resident  of 
London.  He  has  turned  his  attention  particularly  to  sea  and  shore 
pieces,  and  has  been  a  frequent  exhibitor  at  the  Royal  Academy  and 
the  Royal  Scottish  Academy.  Among  his  more  important  works  are, 
"  Trawlers  waiting  for  Darkness  "  (at  the  Royal  Academy  in  1873,  at 
the  Philadelphia  Exhibition  of  1876,  and  at  Paris  in  1878),  "  The 
Salmon  Fishers  "  (R.  A.,  1874),  and  "  Stores  for  the  Cabin  "  (R.  A., 
1878).    [A.  R.  A.,  1884.] 

"  '  Trawlers  waiting  for  Darkness,'  by  Colin  Hunter,  is  a  picture  of  very  exceptional 
power  both  in  sentiment  and  in  the  admirable  vigor  of  its  treatment.  The  breezy  ex- 
panse of  sea  at  twilight  and  the  fisherman  resting  in  his  boat  are  rendered  with  great 
truth.  The  picture  is  full  of  the  solemnity  of  nature."  — Prof.  Weir's  Official  Report 
of  the  American  Centennial  Exhibition  of  1816, 

"  In  '  Stores  for  the  Cabin '  Mr.  Colin  Hunter  paints  with  nothing  less  than  his  wonted 
effect  the  full-colored  shore  and  sea  ;  the  storing  of  the  boat  by  a  picturesque,  group  of 
seafaring  folk,  including  one  admirable  figure  of  a  girl,  not  drawn  with  quite  the  correct- 
ness of  an  academic  painter,  but  refreshing  to  look  upon  by  reason  of  the  greater  charm 
of  healthy  color  and  free  gesture,  and  a  certain  large  gracefulness  of  form  and  movement 
that  comes  of  out-door  life."  —  London  Standard,  J une  14,  1878. 

Huntington,  Daniel,  N.  A.  (Am.)  Born  in  New  York,  1816. 
Studied  under  Professor  Morse  in  1835,  and  later  under  Inman.  Went 
to  Florence  in  1839,  where  he  painted  his  "Florentine  Girl"  and  "The 
Sibyl."  At  Rome  he  produced  his  "  Early  Christian  Prisoner  "  and 
"The  Shepherd  Boy."  After  painting  portraits  for  some  years  in 
New  York,  he  returned  to  Rome  in  1844,  when  he  executed  his 
"  Sacred  Lesson,"  "  Black  Penitents,"  and  others.  At  an  exhibition 
of  his  works  in  New  York  in  1850,  which  attracted  some  attention, 
were  his  "  Bar-Room  Politician,"  "  Woodland  Scene,"  "  Little  Falls," 
"  Coast  near  Newport,"  "  Swiss  Lake,"  "  Recollections  of  Italy," 
"  Christiana  and  her  Children,"  "  Mercy's  Dream,"  "  Almsgiving," 
"  Piety  and  Folly,"  "  Henry  VIII.  and  Catherine  Parr,"  etc.  He  was 
elected  a  member  of  the  National  Academy  in  1840,  and  President 
in  1862,  holding  that  office  until  he  was  succeeded  by  Henry  Peters 
Gray  in  1869.    He  was  again  elected  in  1877. 

Among  the  more  important  of  Huntington's  portraits  are  those  of 
President  Lincoln  (in  the  Union  League  Club,  New  York),  of  Chan- 
cellor Ferris  (New  York  University),  Eastlake  (New  York  Histor- 
ical Society),  R.  B.  Minturn  (in  St.  Luke's  Hospital,  New  York), 
Governor  Morgan  and  Mayors  Duane,  Varick,  and  Livingstone  (in 
the  City  Hall,  New  York),  George  T.  Trimble  (in  the  New  York 
Hospital),  Dr.  Alonzo  Clark  (in  the  College  of  Medicine),  President 
Van  Buren  (in  the  State  Library,  Albany,  N.  Y.),  William  E. 
Dodge,  William  H.  Appleton,  James  Lennox,  Robert  C.  Winthrop, 
John  Taylor  Johnston,  Bishop  Whipple,  Rev.  Morgan  Dix,  Bishop 
Potter,  etc. 

Among  his  later  works  are,  "  Science  and  Christian  Art,"  belonging 


378     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


to  Robert  Hoe  (N.  A.,  1869)  ;  "Sowing  the  Word,"  in  1869  ;  "Juliet 
on  the  Balcony," in  1870  ;  "  Narrows,  Lake  George,"  in  1871  ;  "Titian, 
Clement  VII.,  and  Charles  V.  at  Bologna,"  in  1874.  His  "  Republican 
Court "  (the  property  of  A.  T.  Stewart)  was  at  the  Paris  Exposition 
of  1867  ;  his  "  Sowing  the  "Word  "  (belonging  to  Anson  P.  Stokes)  and 
his  "  Titian  and  Charles  V.,"  commended  by  the  judges  and  others, 
were  at  the  American  Centennial  Exhibition  in  Philadelphia  in  1876. 
James  Lennox  owns  his  "  Columbus  "  ;  M.  0.  Roberts,  his  "  Venice," 
"Old  Lawyer,"  and  others.  "The  Cromwellian"  was  in  J.  T.  John- 
ston's collection.  To  the  Paris  Exposition  of  1878  he  contributed 
"  Philosophy  and  Christian  Art "  and  "  A  Portrait  of  a  Lady." 

"  Few  of  our  painters  have  exhibited  greater  versatility  of  talent,  or  more  broad  and 

pure  artistic  sympathies.    He  has  great  skill  and  fine  feeling  in  landscape  His 

figures  generally  have  the  roundness  which  distinguishes  several  of  the  best  Italian 
masters,  and  his  tints  are  subdued  and  harmonized  like  many  of  the  favorite  pictures 

both  of  the  Roman  and  the  Tuscan  schools  A  striking  merit  in  his  compositions 

is  their  simplicity."  —  Tuckerman's  Book  of  the  Artists. 

"  Huntington  is  said  to  be  a  thoughtful,  quiet  painter,  and  a  sincere,  unassuming  man. 
In  historical  and  genre  pictures  he  is  understood  to  rely  on  his  intelligent  and  sometimes 
highly  wrought  transfer  of  a  scene  to  canvas.  In  his  portraits  truth  and  simplicity  are 
reckoned  his  conspicuous  merits.  His  execution  is  considered  good,  though  subdued. " — 
Mrs.  Tytler's  Modern  Painters. 

Hurlstone,  Frederick  Yeates.  (Brit.)  Born  in  London  (1800- 
1869).  Was  a  pupil  of  Haydon  and  Sir  Thomas  Lawrence,  entering 
the  Royal  Academy  in  1820,  and  winning  several  gold  and  silver 
medals.  As  a  young  man  he  painted  portraits,  and  exhibited  his  first 
picture,  "The  Boy  and  the  Parrot,"  at  the  British  Institute  in  1823. 
In  1835  he  went  to  the  Continent,  spending  some  time  in  Italy,  and 
later  made  frequent  and  extended  sketching-tours  in  Spain  and 
Morocco.  He  was  elected  a  member  of  the  Society  of  British  Artists 
in  1830,  and  was  its  President  for  thirty-four  years,  exhibiting  almost 
exclusively  in  its  gallery.  Among  the  better  known  of  his  works 
are,  "  The  Prisoner  of  Chillon,"  "  Scene  in  St.  Peter's,  Rome,"  "The 
Enchanted  Garden  of  Armida,"  "  Constance  and  Arthur,"  "  A  Vene- 
tian Page,"  "Italian  Peasant  Boys,"  "The  Game  of  Mora,"  "Haidee," 
etc. 

Hutchison,  John.  (Brit.)  Native  of  Edinburgh.  Member  of 
the  Royal  Scottish  Academy,  residing  in  the  Scottish  metropolis.  By 
profession  a  sculptor,  he  is  the  author  of  the  statue,  in  bronze,  to 
Adam  Black,  in  the  Prince's  Gardens,  Edinburgh  ;  the  bust  of  Robert 
Scott  Lauder,  in  the  National  Gallery  of  Scotland  ;  besides  other 
portrait  busts  and  statues  and  ideal  works. 

Imer,  Edouard.  (Fr.)  Born  at  Avignon  about  1820.  Two  medals 
at  Paris.  Painter  of  landscapes.  Has  traveled  in  the  Orient.  At 
the  Salon  of  1876  he  exhibited,  "  The  Oaks  of  Dauphiny,  in  the 
Brenne"  and  "The  Bay  of  Somme"  ;  in  1875,  "Banks  of  the 
Creuse  "  and  the  "  Plain  of  Cayeux  "  ;  in  1874,  "  Coast  of  Saint-Jean- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  379 


d'Orbeitier,"  "  Pool  of  Hiot,"  and  "  Piedmont- Abruzzi  "  ;  in  1873, 
"  The  Oaks  of  Voulliers  "  and  a  "  Marine."    [Died,  1881.] 

"He  is  a  painter  of  talent,  whose  works  are  remarkable  for  a  grand  sentiment  for 
truth,  for  firmness  of  touch,  for  masterly  execution,  and,  in  short,  for  the  real  qualities 
of  a  colorist. "  —  Larourse.  ] 

Induno,  Girolamo.  (Ital.)  Born  at  Milan,  1815.  Several  medals 
at  Genoa,  and  one  in  Paris  in  1855,  and  another  at  Vienna  in  1873. 
Pupil  of  the  Academy  of  Milan  and  of  Francois  Hayez.  He  took 
the  grand  prize  in  1837.  After  his  return  from  Rome  he  settled  in 
Milan.  He  sent  his  works  to  the  Expositions  at  Genoa  for  several 
years.  Among  them  are,  "  Samuel  and  David  "  (at  the  Vienna  Gal- 
lery), "The  Soldier's  Grief,"  "The  Rosary."  "  Bread  and  Tears,"  and 
"  Refugees  from  a  Burning  Village."  At  Munich,  in  1870,  he  ex- 
hibited "Leonora  d'Este."  The  "Bivouac  near  Capua"  is  a  fine 
work,  and  the  "  First  Snow  "  is  exquisite  in  treatment.  His  "  Battle 
of  Palestro  "  and  "  Battle  of  Cernaia  "  are  very  fine.  Not  long  since 
he  exhibited  at  the  Brera,  Milan,  "  The  Entry  of  the  King  of  Italy 
into  Venice  "  and  a  "  Dancing-Lesson  in  the  Last  Century  "  ;  both 
were  much  admired,  as  has  also  been  a  later  work,  called  "  A  Domestic 
Scene."  He  sent  several  pictures  to  the  Paris  Exposition  of  1878  ; 
among  them  was  "  Italy,  1866,"  which  was  commanded  of  the  artist 
by  Victor  Emmanuel,  King  of  Italy. 

Ingham,  Charles  C,  N.  A.  (Brit-Am.)  Born  in  Dublin,  Ireland 
(1796  -  1863).  Studied  art  in  his  native  city,  and  received  a  premium, 
from  the  Dublin  Academy,  for  an  oil-picture  representing  "  The 
Death  of  Cleopatra."  He  came  to  America  in  1816,  and  was  one  of 
the  original  members  of  the  National  Academy  of  Design  in  1826. 
He  was  frequently  on  its  council,  and  was  Vice-President  for  many 
years.  He  was  also  one  of  the  originators  of  the  old  "  Sketch  Club." 
Among  his  prominent  works  may  be  mentioned,  "  Girl  Laughing," 
"Flower-Girl,"  and  "White  Plume,"  besides  many  portraits  noticeable 
for  delicacy  and  beauty  of  finish.  He  was  particularly  happy  in  his 
portraits  of  women  and  children. 

Ingres,  Jean-Dominique-Augustin.  (Fr.)  Born  at  Montauban 
(1781-1867).  Senator  ;' Grand  Officer  of  the  Legion  of  Honor  ; 
Member  of  the  Imperial  Council  of  Public  Instruction  ;  Knight  of 
the  Order  of  Civil  Merit  of  Prussia  ;  Commander  of  the  Order  of  S. 
Joseph  of  Tuscany  ;  Knight  Grand  Cross  of  the  Order  of  Gaudaloupe  ; 
Member  of  the  Institute  of  France,  and  of  the  Academies  of  Florence, 
Berlin,  Vienna,  Antwerp,  and  Amsterdam.  His  father  was  a  painter, 
sculptor,  and  musician.  He  desired  that  his  son  should  excel  in 
music,  and  educated  him  to  that  end.  The  boy  played  the  violin  so 
well  that  when  thirteen  years  old,  it  is  said,  he  was  applauded  in  a 
theater  at  Toulouse.  But  even  in  childhood  he  had  a  passion  for 
painting,  and  commenced  drawing  and  designing  at  an  incredibly 
early  age.    He  entered  the  atelier  of  David,  at  Paris,  when  seventeen, 


380     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  had  already  studied  under  MM.  Roques  and  Briant.  Ingres 
took  the  second  prize  at  the  Salon  of  1800,  and  the  first  prize  the  fol- 
lowing year.  On  account  of  his  poverty  he  could  not  go  to  Rome,  as 
he  was  entitled  to  do,  until  1806  ;  he  remained  there  fourteen  years. 
After  that  he  lived  four  years  in  Florence,  and  returned  to  Paris  in 
1824,  where  for  ten  years  he  received  pupils  in  his  atelier.  In  1824 
he  succeeded  Baron  Denon  in  the  Academie  des  Beaux- Arts. 

In  1834  he  had  become  discouraged  under  the  severe  criticisms  upon 
his  works,  and  decided  to  leave  France.  He  was  made  Director  of  the 
Villa  Medicis,  and  passed  seven  years  in  Rome.  His  second  return 
to  Paris  in  1841  was  a  triumph  ;  and  the  enthusiastic  praise  then  lav- 
ished upon  him  must  have  done  much  towards  healing  the  wounds  of 
former  years.  From  this  time  until  his  death  honors  were  showered 
upon  him,  and  his  works  commanded  enormous  prices.  At  the  Ex- 
position of  1855  one  Salon  was  devoted  to  his  pictures  ;  the  principal 
works  of  his  life  were  there  collected,  and  so  placed  that  all  the 
world  could  see  and  judge  impartially  of  what  had  been  now  so 
highly  praised,  and  again  so  severely  censured.  The  jury  of  the  Ex- 
position gave  to  him  (and  also  to  his  rival,  Delacroix)  a  grand  medal 
of  honor. 

It  is  said  that  during  the  years  of  his  poverty  his  first  wife,  whom 
he  married  at  Rome  in  1813,  stood  between  him  and  the  petty  troubles 
of  his  life.  He  was  forced  to  support  himself  by  making  portraits  in 
pencil.  Madame  Ingres  arranged  the  prices,  and  showed  great  prac- 
tical ability  in  business  matters  ;  she  assumed  all  his  cares,  and  gave 
him  days  of  quiet  labor  when  he  dreamed  not  of  the  trials  she  en- 
dured for  his  sake. 

Ingres  was  a  classicist  and  a  man  of  one  idea,  and  had  no  charity 
for  any  other  form  of  art  than  his  own.  The  portraits  of  him  are 
disagreeable,  and  make  him  appear  to  be  always  in  bad  temper  ;  but 
extreme  determination  of  character  gives  much  the  same  expression 
to  the  face  as  bad  temper,  and  this  is  probably  what  we  find  in  the 
face  of  Ingres.  Many  of  his  paintings  were  exhibited  at  l'Ecole  des 
Beaux-Arts  in  1868.  After  carefully  studying  them,  Hamerton 
says  :  — 

"The  impression  left  upon  me  was  that  the  will  that  produced  those  works  had  been 
truly  extraordinary,  but  the  intellect  was  very  ordinary  ;  that  as  to  artistic  faculty  there 
had  been  a  certain  moderate  gift  developed  into  a  semblance  of  greatness  by  intense 
labor,  and  owing  much  of  its  development  to  its  extreme  narrowness.  The  secret  of 
success  in  this  instance  was  concentration,  and  the  patience  to  hammer  for  sixty-five 

years  on  one  nail  He  added  nothing  to  our  stock  of  ideas,  but,  to  use  Browning's 

words,  '  by  no  immoderate  exercise  of  intellect  and  learning,  and  the  tact  to  let  exter- 
nal forces  work  for  him,  bade  Raphael's  creed  exalt  him  over  his  fellows  in  the  world.' 
How  well  it  did  so  the  list  of  his  honors  shows."  —  Contemporary  French  Painters. 

We  give  a  list  of  his  principal  works,  with  some  facts  concerning 
them.  "  The  Arrival  in  the  Tent  of  Achilles  of  the  Ambassadors 
sent  to  him  by  Agamemnon "  (exhibited  at  the  Salon  of  1801). 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  381 


The  first  grand  prize  was  accorded  to  this  work,  and  it  was  placed  in 
l'Ecole  des  Beaux- Arts.  A  portrait  of  the  first  Consul,  1804  (now  at 
Liege).  A  portrait  of  the  Emperor,  1806  (purchased  for  the  Hotel 
des  Invalides).  During  his  four  years  of  official  study  at  Rome  he  sent 
to  the  Salons,  an  "  Odalisque,"  a  "  Sleeper,"  "  GEdipus  and  the  Sphinx," 
a  second  "  Odalisque,"  and  "  Jupiter  and  Thetis."  The  last  two 
works  were  so  coldly  received  in  Paris  that  Ingres  resolved  to  remain 
at  Rome.  While  there  he  did  an  enormous  amount  of  work,  includ- 
ing "  Raphael  and  the  Fornarina,"  "  Romulus,  the  Conqueror  of 
Acron  "  (painted  in  distemper  for  the  palace  of  the  Quirinal)  (15  by  20 
feet),  "  The  Sleep  of  Ossian "  (a  ceiling  painted  in  oil  at  the  palace 
of  Monte-Cavallo),  the  f  Sistine  Chapel,"  "  Pius  VII.  holding  Chapel 
at  Rome,"  "  Cardinal  Bibiena  affiancing  his  Niece  to  Raphael,"  ''Virgil 
reading  the  iEneid  to  Augustus  and  Octavia,"  "  Francesca  di  Rimini 
and  Paolo  Malatesta,"  "  Philip  V.  of  Spain  giving  the  Order  of  the 
Golden  Fleece  to  Marshal  Berwick,"  and  "  Aretino,  receiving  with 
Disdain  the  Chain  of  the  Order  of  the  Golden  Fleece  from  Charles  V." 
All  these  works  were  much  admired  in  Italy,  but  much  less  praised  in 
France,  where  they  were  sent  to  the  Expositions  of  the  Louvre.  He 
also  painted  at  Rome,  "  Jesus  giving  to  St.  Peter  the  Keys  of  Paradise," 
which  i&  in  the  church  of  La  Trinita  de'  Monti,  and  a  second  picture 
of  "  Pius  VII.  holding  Chapel."  At  Florence  he  painted  "  Charles  V. 
entering  Paris,"  and  the  "  Vow  of  Louis  XIII.,"  which  is  in  the  Cathe- 
dral of  Montauban.  This  last  work  was  exhibited  at  the  Salon  of 
1824.  By  it  Ingres  was  raised  to  the  highest  position,  received  that 
year  the  Cross  of  the  Legion  of  Honor,  and  was  called  to  the  Academy. 
From  this  time  all  he  did,  or  ever  had  done,  received  much  notice,  and 
the  discussions  between  the  "  Classicists "  and  "  Romanticists "  ran 
high,  and  attracted  the  attention  of  all  artists  and  connoisseurs.  In 
1827  he  painted  the  "  Apotheosis  of  Homer  "  on  a  ceiling  at  the  Louvre, 
which  was  then  considered  his  chef-d'oeuvre.  At  the  Salon  of  the 
same  year  he  exhibited  his  "  St.  Symphorien."  This  was  his  first  notable 
effort  in  dramatic  art.  It  was  most  violently  attacked,  and  was  prob- 
ably the  cause  of  his  determination  to  go  again  to  Rome.  From  there 
he  sent  to  France  "  The  Virgin  of  the  Host,"  the  "  Odalisque  with  her 
Slave,"  and  "  Stratonice."  This  last  work  was  sold  in  1863  for  63,000 
francs,  and  is  now  at  Orleans  House,  Twickenham,  England.  In 
1843  he  painted  "  Cherubini  inspired  by  the  Muse."  Between  1842 
and  '55  he  executed  several  historical  pictures,  which  want  of  space 
forbids  naming.  Later  still  his  portrait  of  Madame  de  Rothschild 
and  his  famous  "  La  Source  "  should  be  mentioned.  The  "  Infant 
Jesus  before  the  Doctors  "  (1862)  bears  the  marks  of  his  eighty  years, 
and  is  only  admirable  when  considered  as  a  work  done  by  one  of  that 
age.  In  addition  to  the  above  this  artist  had  decorated  palaces  and 
churches,  and  under  Napoleon  III.  executed  at  the  Hotel  de  Ville  a 
ceiling  representing  the  "Apotheosis  of  Napoleon  I.,"  with  this  in- 
scription, "  In  nepote  redivivus." 


382     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"The  works  of  Ingres  will  endure.  He  himself  will  live  on,  because  in  the  excel" 
lence  of  his  design  he  often  approached  Raphael,  because  if  he  was  inferior  to  Poussin  in 
expression  by  rordonnance,  he  was  sometimes  superior  to  him  in  expression  by  action, 
as  well  as  in  seeking  and  finding  beauty.  He  will  live  because  he  has  rivaled  Holbein 
in  his  portraits,  surpassed  David  in  style,  equaled  Prudhon  in  grace,  and  created  cer- 
tain superb  figures  which  seem  to  have  descended  from  the  frescos  of  Michael  Angelo. 
Yes,  let  the  inconstancy  of  fame  be  what  it  may,  let  the  sentiments  which  future  races 
love  be  what  they  will,  it  is  safe  to  affirm  that  Jean-Auguste-Dominique  Ingres  will  never 
be  deposed  from  the  place  which  he  conquered  by  a  great  struggle,  by  the  sweat  of  his 
genius,  not  only  in  the  rank  of  the  masters  who  have  made  the  French  schools  illustri- 
ous, but  near  those  who  made  the  glory  of  the  Renaissance."  —  Charles  Blanc,  Gazette 
des  Beaux-Arts,  September,  1868. 

Inj albert,  Jean-Antonin.  (Fr.)  Born  at  Beziers.  Pupil  of  A. 
Dumont.  Prix  de  Rome,  1874.  Medals  in  1877,  and  also  '78,  when 
he  exhibited  a  plaster  statue  of  "  Christ."  In  1877  he  exhibited  "  The 
Temptation." 

Inman,  Henry.  (Am.)  Born  in  Utica,  N.  Y.  (1802-1846). 
Portrait,  genre,  and  landscape  painter.  He  displayed  decided  talents 
for  art  as  a  lad,  and  studied  under  John  Wesley  Jarvis  in  New  York. 
He  went  to  Europe  in  1845,  remaining  about  a  year  in  England, 
painting  during  that  period  Wordsworth,  Macaulay,  Dr.  Thomas 
Chalmers,  and  others.  He  numbered  among  his  sitters  in  America 
many  distinguished  men,  and  his  portraits  are  in  the  Boston  Athe- 
nseum,  New  York  City  Hall,  and  elsewhere  throughout  the  country. 
Among  his  landscapes  are,  "  Rydal  Falls,  England/'  and  "  October 
Afternoon,"  one  of  his  latest  works.  He  painted  also  "  The  News- 
Boy,"  "  Pip  Van  Winkle,"  "  The  Boyhood  of  Washington,"  and  kin- 
dred works.  His  "  Puins  of  Brambletye  House,"  from  the  collection 
of  Charles  M.  Leupp,  at  the  Johnston  sale  in  New  York,  1876,  was 
bought  by  William  E.  Dodge. 

Inman,  J.  O'Brien,  A.  N.  A.  (A  m.)  Son  of  Henry  Inman.  As 
a  young  man,  he  painted  portraits  in  the  Western  States  of  America. 
Later  he  removed  to  New  York,  devoting  himself  to  genre  pictures 
and  flower-pieces.  He  went  to  Europe  in  1866,  settling  in  Rome, 
where  his  studio  now  is.  He  has  rarely  exhibited  in  America  of  late 
years.  Among  his  works  are,  "  Sunny  Thoughts,"  "  View  of  Assisi," 
etc.    He  is  an  Associate  of  the  National  Academy  of  Design. 

Inness,  George,  N.  A.  (Am.)  Born  in  Newburg,  N.  Y.,  1825. 
Studied  art  in  Newark,  N.  J.,  and  engraving  in  New  York,  which  by 
reason  of  ill-health  he  was  forced  to  abandon.  In  1846  he  began  the 
practice  of  his  profession  as  a  landscape-painter,  passing  a  few  months 
in  the  studio  of  Pegis  Gignoux.  He  has  made  several  visits  to  Eu- 
rope for  the  purpose  of  observation  and  study,  remaining  in  Italy 
from  1871  to  '75.  He  was  made  National  Academician  in  1868. 
Among  the  better  known  of  Inness'  works  are,  "  Light  Triumphant," 
"  Summer  Sunshine  and  Shadow,"  "  Summer  Afternoon "  (be- 
longing to  Henry  Ward  Beecher),  "  Pine  Grove,"  "  Barberini  Villa, 
Albano,"  "  Vision  of  Faith,"  "  Valley  of  the  Shadow  of  Death,"  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  383 


"  American  Sunset,"  chosen  by  the  committee  in  charge  as  the  rep- 
resentative of  American  Art  at  the  Paris  Exposition  of  1867.  In 
1869  he  sent  to  the  National  Academy,  "Joy  after  the  Storm"  ; 
in  1870,  "Twilight";  in  1871,  "A  View  near  Rome";  in  1874, 
"  Scene  near  Perugia,  Italy  "  and  "  Washing-Day  near  Perugia  "  ;  in 
1877,  "  The  Mountain  Stream,"  "  Autumn,"  "  The  Homestead,"  "  Ital- 
ian Landscape,"  and  "  Passing  Clouds  "  ;  in  1878,  "  The  Afterglow  " 
and  "The  Morning  Sun."  Mrs.  Maynard  of  Boston  owns  his  "Dela- 
ware Water-Gap  "  and  a  large  wooded  landscape  with  sunset  colors. 
His  "  St.  Peter's,  Rome,  from  the  Tiber  "  and  "  View  near  Medfield, 
Mass."  were  at  the  Paris  Exposition  of  1878.  At  the  Mechanics' 
Fair,  Boston,  1878,  was  exhibited  "A  Landscape  "  by  Inness  (belong- 
ing to  Thomas  Wigglesworth). 

"  Inness  paints  at  times  with  haste  and  carelessness  ;  he  does  not  always  do  himself 
justice.  Yet  rarely  do  we  see  one  of  his  landscapes  without  finding  there  is  a  pictu- 
resque effect  or  a  subtle  meaning  indicative  of  the  rarest  skill  and  the  most  absolute 
genius  ;  if  limited  in  scope,  yet  actual  and  true."  —  Tuckerman's  Book  of  the  Artists. 

"Wildly  unequal  and  eccentric  as  Inness  is,  recklessly  experimentative,  indulging  in 
sameness  of  ideas,  often  destroying  good  work  by  bad,  lawless  in  manner,  using  pig- 
ments sometimes  as  though  they  were  mortar  and  he  a  plasterer,  still  there  is  ever  per- 
ceptible in  his  works  imagination,  feeling,  and  technical  instinct  of  a  high  order.  .... 
The  French  school  has  tempered  his  style,  but  he  is  by  no  means  a  mechanical  follower 
of  it.  He  can  be  as  sensitive  as  he  is  powerful  in  his  rendering  of  nature's  phenomena. 
....  Inness  gives  with  equal  felicity  the  drowsy  heat,  hot  shimmer,  and  languid  quiet 
of  a  summer's  noon,  or  the  storm-weighed  atmosphere,  its  dark  masses  of  vapor  and 
the  wild  gathering  of  thunder-clouds  with  their  solemn  hush  before  the  tempest  breaks. 
He  uses  sunlight  sparingly,  but  it  glows  on  his  canvas  and  turns  darkness  into  hope 
and  joy."  —  Jarves,  Art  Idea. 

"The  influence  of  the  French  school  of  landscape  art  is  probably  more  strongly  ap- 
parent in  George  Inness  than  in  the  pictures  of  any  other  American  painter,  and  yet  he 
is  no  imitator,  although  the  more  subtle  features  of  this  idea  may  be  detected  in  all  of 
his  pictures.    There  is  no  American  artist  who  has  acquired  greater  fame  as  such  than 

George  Inness,  neither  can  we  recall  any  who  is  so  varied  in  his  moods  In  his 

happy  moods  he  has  painted  some  of  the  best  landscape  pictures  ever  produced  in  this 
country."  —  Art  Journal,  March,  1876. 

"George  Inness  has  lived  so  long  in  Italy  that  he  has  brought  away  on  his  canvas  a 
trace  of  Italian  warmth,  a  very  lovely  landscape  with  cattle  [N.  A.,  1877] ;  the  trees  are 
especially  fine,  but  the  stream  looks  hard  by  gaslight. "  —  New  York  Times,  April  3,  1877. 

Inness,  George,  Jr.  (Am.)  Son  of  George  Inness,  occupying  a 
studio  with  his  father  in  New  York.  He  devotes  himself  to  animal- 
painting,  and  has  exhibited  at  the  National  Academy  since  1877, 
when  he  sent  "The  Ford"  and  "Patience."  In  1878,  "At  the 
Brook  "  and  "  The  Pride  of  the  Dairy  "  were  his  contributions. 

"George  Inness,  Jr.,  is  sure  to  make  his  mark  as  an  animal-painter,  because,  as  this 
picture  shows  [*  Monarch  of  the  Farm  '],  he  understands  the  science  of  his  art,  and  the 
spirit  of  his  brutes. "  —  New  York  Evening  Post,  January  11,  1878. 

Irmer,  Karl.  (Ger.)  Born  at  Babitz,  1834.  Court  painter. 
Medal  at  Vienna.  Studied  at  Dessau  under  Becker,  then  at  Diissel- 
ilorf  under  Gude.   Traveled  in  Germany,  France,  and  Belgium.  Set- 


384     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tied  at  Diisseldorf.  At  the  National  Gallery,  Berlin,  is  his  "  Dicksee 
near  Gremsmiihlen  in  Holstein,"  which  was  sent  to  the  Paris  Exposi- 
tion of  1878.    At  Berlin,  in  1876,  he  exhibited  "  Von  Riigen." 

Irving,  J.  Beaufain,  N.  A.  (Am.)  Born  in  Charleston,  S.  C. 
(1826  -  1877).  Began  the  study  of  his  art  in  his  native  city,  and  de- 
voted himself  chiefly  to  portrait-painting.  Went  to  Europe  in  1851, 
settled  in  Diisseldorf,  studied  with  Leutz,  and  remained  several  years. 
Returned  to  Charleston,  painting  many  portraits,  and  finally  took  a 
studio  in  New  York  at  the  close  of  the  War  of  the  Rebellion,  where 
he  was  at  first  noticed  as  a  painter  of  genre  pictures,  remarkable  for 
their  richness  of  coloring  and  delicacy  of  finish.  First  exhibited  at 
the  National  Academy  of  Design,  in  1867,  "  The  Splinter"  and  "  The 
Disclosure "  (painted  for  L.W.Jerome).  In  1869  he  sent  "Wine- 
Tasters,"  on  the  merits  of  which  he  was  elected  an  Associate  of  the 
National  Academy.  He  exhibited  in  1871  a  full-length  portrait  of 
Mrs.  August  Belmont  ;  in  1872,  "The  End  of  the  Game"  (belonging 
to  J.  H.  Sherwood) ;  in  1874,  "A  Musketeer  of  the  Seventeenth  Cen- 
tury "  and  the  "  Book- Worm  "  ;  in  1875,  «  Cardinal  Wolsey  and  his 
Friends  "  ;  in  1876,  "  Off  the  Track  "  ;  and  in  1877,  "  A  Banquet  at 
Hampton  Court  in  the  Sixteenth  Century  "  (the  property  of  John 
Jacob  Astor).  He  was  elected  Academician  in  1872.  There  was  an 
exhibition  of  his  pictures  at  the  private  gallery  of  Mr.  Belmont  in 
1877  for  the  benefit  of  his  family,  and  his  "Connoisseurs"  was  at  the 
Paris  Exposition  of  1878. 

"  Mr.  Irving  exhibited  '  The  End  of  the  Game  '  [commended  by  the  judges]  and  '  Car- 
dinal Wolsey  and  his  Friends,'  the  latter  a  labored  and  skillfully  painted  picture.  Mr. 
Irving's  style  is  imitative  ;  but,  while  it  lacks  originality,  it  is  not  without  decided 
merit,  principally  in  technical  qualities.  His  figures  have  often  the  appearance  of 
actors  dressed  in  the  costumes  of  the  stage,  and  performing  their  parts  cleverly,  though 
not  always  naturally  or  unconsciously.  But  he  has  carried  his  art  to  that  x>oint  of  elab- 
oration which  is  only  surpassed  by  the  most  skillful  artists  working  in  the  same  field, 
by  whom  the  French  school  is  so  largely  represented."  —  Prof.  Weir's  Official  Report  of 
the  American  Centennial  Exhibition  of  1876. 

"  As  an  artist  Mr.  Irving  had  achieved  a  high  rank.  He  aspired  to  become  an  histori- 
cal painter,  and  was  measurably  successful  in  that  department  of  art ;  but  his  forte  un- 
questionably was  genre  painting,  in  which  class  of  subjects  he  had  no  superior  in  the 

school  of  American  art  All  of  his  works  show  that  he  was  an  admirer  of  Meis- 

sonier,  but  he  was  no  imitator,  as  every  stroke  of  his  pencil  breathes  the  impress  of  his 
own  individuality."  —  Art  Journal,  June,  1877. 

Isabey,  Eugene-Louis-Gabriel.  (Fr.)  Born  at  Paris,  1804.  Of- 
ficer of  the  Legion  of  Honor.  Pupil  of  his  father.  Paints  marine 
subjects  and  landscapes.  His  "  Embarkation  of  Ruyter  and  Wil- 
liam de  Witt "  and  several  water-colors  are  at  the  Luxembourg ; 
"  The  Combat  of  the  Texel "  is  at  the  Museum  at  Versailles  ;  "  A 
View  of  Boulogne  "  is  at  the  Museum  of  Toulouse.  At  the  Johnston 
sale,  New  York,  1876,  "  The  Embarkation  "  (a  seaport  in  the  time  of 
Louis  XIV.)  (28  by  38)  sold  for  $  1,100. 

Iselin,  Henri  -  Fre'de'rio.    (Fr.)    Born  at  Clairegoutte,  about 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  385 


1825.  Chevalier  of  the  Legion  of  Honor.  This  sculptor  studied 
under  Rude  and  at  l'Ecole  des  Beaux- Arts.  His  "  Young  Roman," 
bust,  in  marble  (1852),  is  at  the  Luxembourg.  His  works  are  to  be 
seen  at  Versailles,  the  Louvre,  and  at  the  Palais  des  Corps  Legislatif, 
as  well  as  in  many  other  places. 

Israels,  Josef.  {Dutch.)  Born  at  Amsterdam,  1824.  Chevalier 
of  the  Order  of  Leopold  and  of  the  Legion  of  Honor.  Medal  at  Phila- 
delphia. Studied  at  Amsterdam  under  Kruseman,  and  at  Paris 
under  Picot.  He  resided  for  some  time  at  Amsterdam,  but  now  lives 
at  The  Hague.  His  pictures  have  been  exhibited  at  Paris,  Brussels, 
Rotterdam,  and  London.  His  subjects  are  genre.  Among  them  are, 
"  A  Village  Scene,"  "  Preparations  for  the  Future,"  "  The  Children  of 
the  Sea  "  (bought  by  the  Queen  of  Holland),  "  The  Peaceful  House," 
etc.  At  the  Johnston  sale,  in  1876,  in  New  York,  "  Fishing-Boats 
off  Scheveningen  "  (30  by  54)  sold  for  $  2,900.  "  The  Shipwrecked  " 
was  exhibited  in  England  in  1862,  and  was  bought  by  Mr.  Arthur 
Lewis.  "  The  Sick  Mother  "  and  "  The  Mother  in  Health  "  are  also 
owned  in  England.  Although  the  incidents  connected  with  a  sailor's 
life  are  especially  the  subjects  of  Israels'  brush,  he  has  succeeded  in 
historical  painting  also.  "  William,  Prince  of  Orange,  opposing  for 
the  first  Time  the  Decree  of  the  King  of  Spain  "  was  exhibited  in 
Paris  in  1855,  and  was  much  praised.  At  the  London  Academy,  in 
1878,  he  exhibited  "Returning  Home  from  the  Field"  ;  in  1875, 
"Waiting  for  the  Herring-Boats"  ;  in  1874,  "Expectation"  and  "The 
Anxious  Family"  ;  in  1873,  "The  Poor  of  the  Village"  ;  in  1872, 
"Age  and  Infancy."  At  the  Forbes  sale,  London,  in  1874,  his  "  First 
Sail  "brought  750  guineas,  and  his  "Breakfast-Time"  850  guineas. 
At  the  Paris  Exposition,  1878,  he  exhibited  "  Alone  in  the  World," 
"  The  Poor  of  the  Village,"  "  The  Dinner  of  the  Cobblers,"  and  "The 
Anniversary."    The  last  three  are  owned  in  Great  Britain. 

"  Israels  has  not  the  careless,  humorous  spirit  of  Bles,  but  he  is  so  good,  so  human, 
so  melancholy,  with  a  bit  of  sentimentality  !  He  humanizes  color  ;  it  speaks,  under  his 
brush,  the  language  of  suffering  things.  He  loves  the  mean,  smoked  houses,  —  the 
somber  cabins  of  fishermen,  the  hearth  with  its  black  calcinations,  the  humble  men. 
He  draws  effects  from  piles  of  old  bricks  and  rags,  from  illuminated  obscurities,  from 
cellars  lighted  with  thready  rays,  and  from  doubtful  tones,  a  little  heavy,  but  expressive 
and  suited  to  painting.''  — Camille  Lemonnier,  Chronique  des  Arts,  May,  1876. 

Ittenbach,  Franz.  (Ger.)  Born  at  Konigswinter,  1813.  Pupil 
of  Schadow  at  Diisseldorf.  Royal  Professor  and  member  of  the  Acad- 
emy at  Vienna,  Medals  at  Cologne,  Berlin,  and  Besancon.  This 
painter  traveled  in  Italy,  and  after  his  return  to  Germany  executed 
some  frescos  in  the  Rhine  church  at  Remagen.  "  Christ  and  the 
Doctors  "  is  one  of  these,  and  proves  that  the  artist  was  learned  in 
composition.  In  the  National  Gallery,  Berlin,  is  his  "  Holy  Family 
in  Egypt."    [Died,  1879.] 

Ives,  C.  B.  (Am.)  American  sculptor,  a  native  of  Connecticut, 
but  for  many  years  a  resident  of  Rome.     Among  his  ideal  works 


386     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


are  statues  of  "  Rebecca,"  "  Sans  Souci,"  "  Cupid  with  his  Net," 
"  Shepherd-Boy,"  "  Pandora,"  "  Bacchante,"  "  White  Captives,"  "  At 
the  Well,"  and  "  Shepherd  with  a  Kid."  He  has  made  busts  of  Gen- 
eral Scott,  William  H.  Seward,  and  others.  To  the  American  Cen- 
tennial Exhibition  of  1876  he  sent  "  Nursing  the  Infant  Bacchus." 
He  is  the  author  of  the  statue  of  Trumbull,  in  marble,  in  front  of  the 
new  State  House,  at  Hartford,  Ct. 


ARTISTS 


OF  THE  NINETEENTH  CENTURY 
AND  THEIR  WORKS. 

a  f  attttooofc 

CONTAINING  TWO  THOUSAND  AND  FIFTY  BIOGRAPHICAL 
SKETCHES. 

BY 

CLAJRA  ERSKINE  CLEMENT 

AND 

LAURENCE  HUTTON. 
VOL.  II. 


BOSTON  AND  NEW  YORK-. 
HOUGHTON,  MIFFLIN  AND  COMPANY. 


Copyright.  1879,  and  1384 
By  CLARA  ERSKINE  CLEMENT. 
All  rights  reserved. 


TWELFTH  IMPRESSION 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Jackson,  John  Adams.  (Am.)  Born  in  Bath,  Me.,  1825.  Pupil, 
when  quite  young,  of  D.  C.  Johnston  of  Boston.  After  a  careful  study 
of  linear  and  geometrical  drawing,  he  gave  some  time  to  working  in 
crayons,  and  later  made  some  successful  portraits  in  this  manner.  At 
Paris  he  studied  anatomical  drawing  from  life  in  the  famous  school  of 
M.  Suisse.  In  1851  Jackson  executed  some  fine  portrait  busts.  That 
of  Webster  was  made  from  medals  and  portraits  furnished  by  his  fam- 
ily. At  Florence,  in  1853,  he  modeled  portrait  busts  of  Miss  Ade- 
laide Phillips,  T.  Buchanan  Bead,  etc.  In  1854,  in  Paris,  he  modeled 
his  bust  of  Judge  Mason,  United  States  Ambassador  to  France,  and 
during  the  same  year  in  Boston  he  made  the  bust  of  Wendell  Phillips, 
now  in  the  Boston  Athenaeum  ;  that  of  George  S.  Hillard,  for  the  New 
York  Historical  Society  ;  and  that  of  Rev.  Dr.  Lyman  Beecher,  now 
owned  by  Rev.  H.  W.  Beecher.  In  1858  Jackson  removed  to  New 
York,  and  there  modeled  ideal  subjects  as  well  as  those  from  life,  in- 
cluding his  bust  of  T.  Buchanan  Read,  for  the  Union  League  Club  of 
Philadelphia.  In  1860  he  received  a  commission  from  the  "  Kane 
Monument  Association  "  for  a  statue  of  the  arctic  voyager,  to  be  made 
in  bronze  ;  his  model  was  unanimously  accepted  by  the  committee,  and 
the  sculptor  went  to  Florence  to  attend  to  the  making  of  the  figure. 
Since  that  time  Florence  has  been  his  home.  In  1862  Jackson  mod- 
eled his  group  of  "  Eve  and  the  Dead  Abel,"  which  (in  marble)  belongs 
to  Mr.  W.  G.  Morehead  of  Philadelphia.  This  work  has  been  much 
praised  by  English  and  Italian  art  critics.  Charles  J.  Hemans  made  a 
careful  analysis  of  it,  and  Dr.  Arrowsmith,  an  English  surgeon,  wrote 
an  essay  on  it,  giving  the  connection  in  it  of  anatomy  and  physiology, 
and  "  showing  how  the  artist  had  in  this  group  expressed  the  very 
subtle  truths  of  organization  and  'pathology."  Following  this  work, 
the  artist  made  a  statue  of  "  Autumn,"  for  Mr.  Tirrell  of  Weymouth  ; 
"  Cupid  stringing  his  Bow,"  for  Mr.  Watson  of  New  York  ;  "  Titania 
and  Nick  Bottom,"  a  small  group  in  bronze,  for  Mr.  Thomas  Williams 
of  London  ;  "Cupid  on  a  Swan  "  (marble),  for  Mr.  H.  Clarke  of  Bel- 
mont ;  the  "  Culprit  Fay,"  for  Mr.  S.  D.  Warren  of  Boston,  of  which 
several  copies  have  been  made  for  England  and  the  United  States  ; 
a  bust  called  "  P^ace,"  for  Mr.  Whidden  of  Philadelphia,  and  another 

VOL.   II.  1  A 


2         ARTISTS  OF  THE  NINETEENTH  CENTURY. 


called  "Dawn,"  for  Mr.  Theron  Shaw  of  Boston.  The  last  has 
been  often  repeated.  Jackson  has  made  many  portrait  busts  (ha vino- 
finished  one  hundred)  and  medallions.  Among  the  latter  is  one  called 
the  "Morning-Glory,"  which  has  been  fourteen  times  reproduced 
in  marble.  In  1867  Jackson  visited  New  York,  and  modeled  for 
the  "  Croton  Water-Board  "  a  group  of  figures,  and  several  single 
figures,  to  be  cast  in  bronze  and  placed  on  the  southern  gate-house 
of  the  Beservoir  at  Central  Park.  The  design  was  approved  and 
the  contract  signed  for  the  work.  These  statues  have  not  yet  been 
cast,  but  an  engraving  of  the  central  group  appears  on  the  bonds 
issued  by  the  Board.  In  1869  the  artist  modeled  his  statue  of  the 
"  Beading  Girl,"  belonging  to  Mr.  Aaron  Healy  of  Brooklyn.  In  the 
Berlin  "  Zeitung"  Dr.  Hans  Semper  published  an  article  upon  this  work, 
which  he  highly  praised.  At  Vienna,  in  1873,  was  seen  the  "  Musi- 
dora,"  belonging  to  Mr.  Clarke  of  New  York,  of  which  Mr.  Gordon 
McKay  of  Cambridge  has  a  fine  copy,  one  third  reduced  in  size. 
This  statue  was  exhibited  for  a  few  days  in  New  York,  and  was  as 
much  admired  as  it  had  been  in  Florence  before  it  left  the  artist's 
studio.  In  1874  the  Soldiers'  Monument  at  Lynn  was  erected.  In 
this  Mr.  Jackson  represented  the  city  as  a  woman  with  one  hand 
resting  on  a  shield,  while  with  the  other  hand  she  bestowed  the  laurel 
wreath  ;  the  shield  bearing  the  city's  coat  of  arms.  Below  this  figure 
are  two  others,  "  Justice  "  and  "  War,"  the  latter  at  rest  with  arms 
reversed.  The  monument  is  of  granite,  and  the  figures  of  bronze.  In 
1875  was  modeled  a  "Hylas  "  ;  and  following  that,  "II  Pastorello," 
which  is  a  group  in  marble,  representing  an  Abruzzi  peasant-boy 
with  his  goat.  It  has  been  sold  to  Mr.  Nevins  of  New  York.  It  is 
very  spirited,  full  of  grace  as  well  as  life.  It  has  a  peculiar  interest, 
since  it  faithfully  represents  the  artistic  Abruzzi  costume,  which  is 
rapidly  disappearing,  and  is  much  regretted  by  all  lovers  of  the  pictu- 
resque.   Of  the  "  Abel  and  Eve  "  the  Boston  Transcript  said,  — 

"  The  more  we  study  this  group  the  more  we  find  in  it  to  admire.  The  fine  conception 
is  fully  carried  out  in  the  details.  The  composition  is  admirable,  viewed  from  any  direc- 
tion, —  a  rare  accomplishment  in  a  work  of  this  kind.  Eve  rests  on  one  knee,  and  on 
the  other  she  supports  the  inanimate  form  of  Abel,  which  she  is  supposed  to  have  just 
discovered.  Her  left  hand  is  under  his  drooping  head,  while  in  her  right  hangs  his  life- 
less wrist.  Her  head  is  bent  towards  his  with  a  gaze  in  which  curiosity,  uncertainty, 
and  anxiety  are  mingled.  The  form  of  Eve  is  an  exquisite  piece  of  modeling.  It  is  full 
of  action,  and  yet  pervaded  with  grace.  The  back  is  especially  fine.  It  would  seem  as  if 
the  very  marble  itself  felt  the  coming  revelation,  which  is  to  prostrate  the  desolate  heart 
of  the  first  mother.  The  head  is  also  an  exquisite  piece  of  chiseling,  and  we  would  call 
particular  attention  to  the  liair  and  the  ivy  (a  happy  suggestion  of  woman's  first  at- 
tempt to  adorn  herself)  which  binds  it ;  the  mastery  of  which  sculptors  know  to  be  a 
difficult  task.  We  have  rarely  seen  hair  so  faithfully  and  beautifully  done.  The  form 
of  Abel  is  very  bold  in  its  conception.  It  is  dead  beyond  any  hope  of  recovery  ;  and 
yet,  through  the  magic  of  the  sculptor's  art,  it  excites  only  tender  and  pleasing  emotions. 
The  hand  of  the  boy,  and  that  of  Eve  which  holds  it,  are  worthy  the  most  critical 
study  of  both  the  artist  and  anatomist.  They  form  a  group  in  themselves.  The  droop- 
ing left  arm  of  Abel  is  equally  successful.    The  anatomy  of  the  entire  group  is  per- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  3 


feet ;  we  ha"e  heard  professional  anatomists  speak  on  this  point  in  terms  of  the  highest 
admiration." 

Mr.  Jackson  is  now  engaged  in  modeling  another  group  of  "  Eve 
and  Abel,"  in  which  the  form  is  so  changed  that  it  is  the  same  only 
in  name.  He  intends  to  make  it  his  capo  a"  opera.  It  has  already 
been  much  praised  by  critics  and  connoisseurs  who  have  seen  the 
model.    [Died,  1879.] 

"  Me.  J.  A.  Jackson's  Musidora.  —  Several  years  ago  a  group  in  statuary,  'Eve  and 
Abel,'  by  Mr.  J.  A.  Jackson,  was  exhibited  in  this  city,  and  was  much  admired.  It  made 
a  real  impression.  The  critics  of  the  day  were  enthusiastic  over  it.  The  artist  com- 
pleted it  in  Florence,  where  he  had  lived  some  years,  and  where  he  now  resides.  After 
the  Vienna  Exposition  he  sent  to  this  country  a  life-sized  statue,  « Musidora,'  which 
had  been  exhibited  there.  For  a  short  time  it  was  shown  in  New  York,  and  was  sold, 
but  not  before  its  superior  merits  had  made  for  it  many  friends  among  the  artists  and 
lovers  of  art.  Some  time  after,  Mr.  Jackson  reproduced  this  work  in  marble,  two  thirds 
life-size,  and  this  work  is  now  owned  by  Mr.  McKay  of  Cambridge,  who  certainly  is  to  be 
congratulated  upon  the  possession  of  it.  The  story  of  Musidora  and  her  lover  Damon, 
told  in  the  'Summer'  of  Thomson's  'Seasons,' gave  Mr.  Jackson  the  suggestion.  He 
has  taken  the  moment  when  Musidora,  standing  in  the  lilies  by  the  pool,  nude,  ready  for 
the  bath,  is  startled  by  the  noise  of  her  retreating  lover,  who,  half  angry  with  her,  una- 
ware of  her  approach,  had  been  musing  in  a  pet  under  the  hazels  near  by.  She  leans 
forward,  listening  in  the  attitude  of  surprise,  with  left  hand  and  arm  uplifted,  and  the 
right  supporting  the  drapery.  The  weight  of  the  body  is  thrown  to  the  left.  The  figure 
is  that  of  a  lovely  young  girl,  beautiful  in  face  and  form,  and  graceful  in  action.  The 
conception  is  a  most  fortunate  one,  and  in  the  embodiment  of  it  the  artist  has  made  a 
gratifying  success.  He  has  given  the  figure  a  pose  which  is  full  of  natural  grace  and 
charming  in  its  suggested  action.  The  symmetry  of  a  beautiful  form  is  well  displayed 
under  conditions  where  it  is  easy  to  offend,  and  where  a  hand  that  was  not  guided  by 
refinement  or  was  wanting  in  that  confidence  in  modeling  which  is  the  result  of  conscien- 
tious study  of  anatomy,  would  have  failed.  It  is  altogether  a  work  of  great  merit,  and 
as  a  credit  to  American  art  ought  to  be  better  known."  —  J.  B.  Millet,  in  Boston  Daily 
Advertiser,  October  28,  1878. 

Jacob,  Julius.  (Ger.)  Born  at  Berlin,  1811.  Medals  at  Paris, 
Lyons,  and  Rouen.  Member  of  many  artistic  societies.  Studied 
under  Wach  at  the  Diisseldorf  Academy,  and  later  in  Paris  under 
Delaroche.  He  traveled  extensively  in  Europe,  and  visited  Asia  and 
Africa.  From  all  these  journeys  he  brought  back  twelve  hundred 
sketches  of  landscapes,  and  more  than  three  hundred  heads,  copied 
from  famous  pictures.  Among  his  works  are  a  "  Scene  from  the  Life 
of  Saint-Louis,"  "Artist  Life,"  etc.  In  1844  he  went  to  England  and 
remained  eleven  years,  —  his  portraits  were  much  admired,  and  he 
made  a  fortune  by  them.  He  afterwards  traveled  in  the  South  of 
Europe,  and  went  to  Vienna,  where  he  made  likenesses  of  many 
eminent  persons,  Metternich,  Schwarzenberg,  Lichtenstein,  etc.  He 
worked  with  great  rapidity,  and  finished  twenty-six  portraits  in  a 
single  year.  In  1866,  on  account  of  the.  war,  he  returned  to  Berlin. 
In  the  National  Gallery  of  Berlin  is  a  study  of  men's  heads  by  Jacob. 
At  Berlin,  in  1876,  he  exhibited  "Steinfeld  von  Sorrent "  and  "  Aus 
tier  Mark."    [Died,  1884.] 

Jacobs,  Jacques- Albert-Michel.    (Belgian.)    Born  at  Antwerp, 


4 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1812.  Officer  of  the  Order  of  Leopold.  Member  of  the  Royal  Academy 
of  Belgium.  Pupil  of  F.  de  Braekeleer.  Traveled  in  the  East.  Paints 
landscapes  and  marines.  At  the  National  Gallery,  Berlin,  is  his 
'*  Grecian  Archipelago."   [Died,  1879.] 

Jacomin,  Alfred-Louis.  (Fr.)  Born  at  Paris.  Pupil  of  his 
father.  Medal  at  Philadelphia,  where  he  exhibited  "  Bilboquet  and 
his  Companion  "  and  "  An  Armorer  of  the  Seventeenth  Century."  At 
Paris,  in  1877,  was  "A  Baptism  "  ;  in  1878,  "  The  Magic  Mirror." 

Jacquand,  Claudius.  (Fr.)  Born  at  Lyons,  1805.  Chevalier  of 
the  Legion  of  Honor  and  of  the  Order  of  Leopold.  Pupil  of  the 
Academy  of  Lyons  and  of  Fleury- Richard.  His  motives  are  histor- 
ical. A  number  of  his  works  have  been  bought  by  the  Civil  List. 
His  "Amende  Honorable,  —  Scene  in  a  Convent"  (1853)  is  in  the 
Luxembourg.  His  portraits  are  numerous  and  excellent.  The  "  Tak- 
ing of  Jerusalem"  is  at  Versailles.  Among  his  other  works  are, 
"Bonaparte  at  Nice,"  "The  Last  Interview  of  Charles  I.  and  his 
Children,"  "  The  Ransom  of  a  Sicilian  Family  captured  by  a  Morocco 
Pirate,"  "The  Death  of  Joseph,"  "Christopher  Columbus  about  to 
die  requests  his  Son  to  bury  with  him  the  Chains  which  he  had  worn," 
etc.  His  picture  of  "  William  the  Silent  "  was  exhibited  in  Boston  by 
Williams  &  Everett  in  the  winter  of  1878.    [Died,  1878.] 

Jacque,  Charles  Emile.  (Fr.)  Born  at  Paris,  1813.  Chevalier 
of  the  Legion  of  Honor.  When  seventeen  years  old  he  studied  with 
a  geographical  engraver,  but  a  little  later  enlisted  as  a  soldier  and  re- 
mained seven  years  in  the  army.  He  then  resumed  his  engraving,  and 
worked  two  years  in  England  as  a  draughtsman  on  wood.  He  may 
be  characterized  as  a  rustic  artist.  His  knowledge  of  sheep  and  poul- 
try (of  which  last  he  is  a  fancier  and  breeder)  is  simply  perfect,  and 
he  has  been  called  "  le  Raphael  des  Pourceaux "  from  his  exact 
acquaintance  with  pigs.  He  has  been  much  in  Burgundy,  and  his 
pictures  of  life  there  are  marvelous  in  their  minute  representation,  not 
only  of  the  larger  objects,  but  of  details  ;  of  the  utensils,  implements, 
and  all  the  picturesque  peculiarities  of  that  charming  country.  One 
cannot  always  praise  the  color  of  this  painter,  and  for  this  reason 
many  connoisseurs  rank  his  etchings  higher  than  his  paintings.  A 
catalogue  of  Jacque's  engravings,  numbering  four  hundred  and  twenty, 
was  made  by  M.  Guiffrey.  Many  stories  are  told  of  his  buying  an 
old  shepherd  dog  for  a  model,  of  his  giving  a  new  wheelbarrow  for  a 
broken,  weather-stained  one,  etc.,  to  the  astonishment  of  the  peasantry 
at  Barbizon,  where  he  built  a  little  house  and  a  big  studio,  and  could, 
in  that  country,  indulge  his  love  for  all  that  the  word  "  rustic"  can  sug- 
gest. His  earlier  pictures,  like  his  etchings,  were  small ;  but  he  has 
painted  larger  ones  ;  of  which  "  A  Landscape  with  a  Flock  of  Sheep  " 
(1861)  is  at  the  Luxembourg.  He  has  sent  nothing  to  the  Salons 
since  1870  ;  then  he  exhibited  "The  Border  of  a  Wood  with  Ani- 
mals "  and  "  The  Interior  of  a  Sheepfold."    Jacque  has  made  many 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  5 


designs  for  book  illustrations,  and  by  contributions  to  "  Charivari  " 
has  shown  himself  a  good  caricaturist.  Some  of  his  etchings  form 
delightful  series,  and  are  much  prized  by  collectors.  The  proofs  of 
several  of  his  prints  are  exceedingly  rare.  At  a  Paris  sale  in  1872  "  A 
Girl  Knitting  "  sold  for  £  164.  Several  excellent  works  by  this  artist, 
showing  the  manner  of  his  different  periods,  are  in  the  Walters  Gal- 
lery at  Baltimore. 

"  If  the  word  pittoresque  did  not  exist  in  the  French  language,  one  would  have  to  in- 
vent it  for  the  works  of  Charles  Jacque  ;  and  what  is  the  picturesque,  if  not  the  senti- 
ment of  life  in  its  most  familiar  form  ?  When  a  painter  shows  me  a  plow  in  the  fields, 
a  pail  near  a  well,  a  pot  in  a  kitchen,  a  lantern  in  a  garret,  I  ought  to  understand  that 
these  are  common  objects,  frequently  used,  and  not  brand-new  things  just  out  of  a  shop. 
Of  course  the  form  would  be  the  same,  but  the  expression  would  be  different  ;  and  the 
expression  conveys  the  charm  of  a  rustic  scene  by  giving  us  the  illusion  of  reality.  Why 
have  Charles  Jacque's  works  such  a  powerful  charm  ?  It  is  because  they  always  show 
us  things  or  persons  such  as  they  are  in  nature  :  because  he  studies  them  in  the  course 
of  their  usual  life  and  avocations  ;  and  because  this  sincerity  carries  us  without  effort  to 
the  scene  that  he  chooses  to  represent.  Who  knows  better  than  he  how  to  paint  or  draw 
hens  perched  on  a  cart,  ducks  dabbling  in  a  pond,  sheep  in  search  of  grass,  children 
rambling  about  the  fields  instead  of  going  to  school,  a  servant  washing  clothes,  a  plow 
under  a  shed  ?  His  inns,  his  farms  and  poultry  yards,  his  village  streets,  his  skirts  of 
forest ;  his  old  walls,  full  of  crevices,  of  stains  of  damp  or  crumbling  plaster ;  his  barns, 
with  cobwebs  hanging  from  their  ceilings,  charm  us  precisely  because  the  painter  has 
not  recourse  to  any  tricks,  but  merely  tells  us,  in  his  plastic  language,  the  things  that  he 
saw,  observed,  and  studied  in  the  country. "  —  Rene  Menard,  The  Portfolio,  Septem- 
ber, 1875. 

"  But  it  is  necessary,  injustice,  to  say  that  the  pictures  of  Charles  Jacque  represent 
him  quite  unfairly,  and  that  his  knowledge  of  nature  and  fine  artistic  sensibility  are 
both  neutralized  on  canvas  by  his  congenital  incapacity  to  see  color.  His  greens  are  as 
crude  as  the  worst  English  greens,  and  crude,  if  possible,  in  a  more  hopeless  way  ;  for 
English  crudity  in  very  many  cases  is  nothing  but  a  vain  attempt  to  render  natural 
brilliance,  resulting  from  an  extreme  sensitiveness  uncontrolled  by  science  ;  whereas  the 
crudity  of  Charles  Jacque  is  not  due  to  sensitiveness  at  all,  but  to  mere  blindness.  His 
ordinary  gamut  of  color  —  one  cannot  call  it  a  harmony  —  is  limited  to  these  raw  greens, 
and  a  set  of  grays  equally  raw,  passing  into  lead-color  of  the  most  unpleasant  hue. 
When  the  greens  are  absent,  as  they  are  from  some  pictures,  they  are  replaced  by  dirty 
browns,  not  less  crude  in  reality,  though  the  crudity  of  browns  is  not  so  generally 
recognized  as  that  of  greens.  But  when  Charles  Jacque  is  free  from  the  embarrassment 
of  color,  as  in  his  etchings,  or  the  lithographs  and  photographs  from  his  pictures,  he  is 
often  one  of  the  most  charming  of  French  artists."  — P.  G.  Hamerton,  Contemporary 
French  Painters. 

Jacquemart,  Henri  Alfred.  (Fr.)  Born  at  Paris,  1824.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  This  sculp- 
tor executed  the  two  Griffons  of  the  Fontaine  du  Saint  Michel.  He 
directed  the  restoration  of  the  Fontaine  de  la  Victoire,  and  has  done 
other  public  works  at  Paris.  At  the  Salon  of  1877  he  exhibited 
"  A  Camel-Driver  of  Asia  Minor  "  (group  in  plaster)  and  a  "  Young 
Wood-Gatherer."  His  portrait  busts  and  statues  are  numerous  ; 
among  them  are  several  equestrian  statues.  Many  of  his  subjects 
represent  animal  life. 

Jacquemart,  Jules  Ferdinand.     (Fr.)    Born  at  Paris,  1837. 


6 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Francis 
Joseph.  Son  of  Albert  Jacquemart,  a  man  of  letters.  Some  of  the 
best  etchings  of  the  son  were  executed  for  the  illustration  of  the  works 
of  the  father.  This  artist  is  inimitable  as  an  engraver  of  still-life  ;  as 
a  reproducer  of  pictures  he  is  not  remarkable.  His  chefs-d'oeuvre  are 
the  illustrations  of  the  "  History  of  Porcelain,"  by  his  father,  and  those 
for  "  The  Gems  and  Jewels  of  the  Crown."  Jacquemart  is  one  of  the 
Committee  of  Fine  Arts  of  International  Expositions.  [Died,  1880.] 
"  I  never  knew  the  glory  and  beauty  of  noble  old  work  in  the  precious  stones  and 
metals,  till  Jules  Jacquemart  taught  me.  The  joyaux  of  the  Louvre  were  familiar  to  me, 
but  a  veil  hung  between  me  and  their  true  splendor  ;  and  it  was  only  when  Jacquemart 
had  etched  them  one  by  one  that  I  learned  to  know  them  truly."  —  P.  G.  Hamerton, 
Etching  and  Etchers. 

Jacquemart,  Mile.  Nelie.  (Fr.)  Born  at  Paris.  Three  medals 
at  Paris,  1868,  '69,  and  '70.  Portrait-painter.  This  artist  early 
showed  her  talent,  has  been  very  successful  in  her  profession,  and  has 
the  power  to  make  warm  friends  of  her  subjects  and  patrons.  At  the 
Salon  of  1877  she  exhibited  a  portrait  of  General  d'Aurelle  de  Pala- 
dines,  and  one  of  the  Viscount  Henry  G.  ;  in  1876  those  of  Gen- 
eral de  Palikao  and  of  Count  de  Chambrun  ;  in  1875,  portraits  of 
two  gentlemen  and  one  lady  ;  in  1874,  three  portraits  ;  in  1873,  por- 
traits of  M.  Dufaure  and  of  the  Marquise  A.  de  C.  ;  in  1872,  M. 
Thiers,  President  of  the  Kepublic  ;  in  1870,  Marshal  Canrobert  and  a 
lady. 

"  One  feels  that  this  artist  does  not  take  her  inspiration  alone  from  the  sittings  of  her 
subjects, but  that  she  finds  the  best  part  of  her  work  in  her  knowledge  of  character,  and 
from  her  close  study  of  the  pcrsonelle  of  those  whom  she  portrays. "  —  Paul  d'Abrest, 
Zeitschrift  fur  bildende  Kunst,  1875. 

Jacquesson  de  la  Chevreuse,  Louis.  (Fr.)  Born  in  Toulouse, 
France,  1840.  His  family  belonged  to  the  ancient  French  nobility, 
and  their  estate  in  St.  Domingo  was  confiscated  by  Napoleon  I.  The 
young  Louis  consequently  was  of  necessity  educated  for  an  indepen- 
dent career.  Having  strong  musical  and  artistic  tastes,  he  entered 
the  Conservatory  of  Toulouse,  and  carried  away  the  first  prize  of  that 
institution  at  the  age  of  fourteen.  Later  he  was  sent  to  Paris  to  study 
painting,  and  entered  the  studio  of  Flandrin.  Subsequently  he  be- 
came one  of  the  favorite  pupils  of  Ingres.  At  this  time  the  master 
was  too  old  to  teach  in  his  studio,  but  gave  to  Jacquesson  the  entree 
into  his  private  chamber,  where  frequently  in  his  bed  Ingres  poured 
into  the  willing  ears  of  his  fortunate  pupil  the  principles  and  thoughts 
of  his  long  life  and  great  experience.  In  consequence  of  these  advan- 
tages, Jacquesson  is  said  to  have  been  imbued  more  deeply  with  the 
grand  ideas  of  Ingres  than  any  other  artist  in  France.  In  1865  he 
competed  for  the  grand  prix  de  Rome,  although  quite  unprepared  for 
the  task.  Jacquesson  at  this  time  was  but  twenty-five,  and  heretofore 
students  of  thirty  had  been  admitted  to  this  competition,  but  a  new  rule 
forced  him  to  enter  then  or  never.    In  addition  to  this  he  was  dis- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  7 


abled  by  illness,  and  his  picture  was  not  finished  in  time,  although  it 
won  the  second  prize  and  was  purchased  by  the  government  for  2,000 
francs.  Soon  after  this  he  opened  a  studio  in  Paris  for  the  reception 
of  pupils,  of  which  one  of  his  students  writes  :  "  The  serious  work 
required,  and  lofty  principles  inculcated,  have  stood  in  the  way  of  its 
becoming  the  resort  of  the  average  rapin.  It  is  not  a  popular  studio, 
one  to  which  the  masses  flock."  A  number  of  Americans  have  been 
among  his  pupils.  He  has  so  devoted  himself  to  his  classes  that  his 
own  work  has  seriously  suffered,  although  he  has  painted  a  number  of 
fine  portraits.  j(u*C  ffo  f. 

Jacquet,  Jean  Gustave.  (Fr.)  Born  at  Paris,  1846.^  Medals  in 
1868  and  '75.  Pupil  of  Bouguereau.  He  made  his  debut  at  the  Salon 
of  1865  with  two  pictures,  "  Modesty  "  and  "  Sadness."  His  picture 
of  "  The  Call  to  Arms  "  (1867)  attracted  much  attention.  Edmond 
About  said  :  "  Behold  an  artist,  unknown  to-day,  who  will  be  cele- 
brated to-morrow."  His  "  Sortie  de  Lansquenets  "  of  1868  was  bought 
by  the  State,  and  is  at  the  chateau  of  Blois.  J acquet  has  traveled  in 
Italy,  Germany,  and  England.  His  pictures  are  in  demand  and  bring 
good  prices.  He  is  fond  of  all  the  objects  which  collectors  love,  and 
his  atelier  is  rich  in  tapestry,  stuffs,  arms,  draperies,  etc.  He  took 
part  in  the  battle  of  Malmaison,  where  he  saw  Cuvelier  killed  and 
Leroux  grievously  wounded.  His  drawing  is  spirited,  his  color  pleas- 
ing, and  the  general  effect  in  his  pictures  is  bright  and  charming. 
Among  his  works  are,  "  La  pauvrette  "  (1877),  the  "  Peasant- Woman" 
(1876),  "  Reverie,"  "  Halt  of  Lansquenets,"  "A  Vidette  "  (1875),  etc. 
He  paints  many  portraits.  His  "  Going  to  the  Races  "  belongs  to  Mr. 
Hawk  of  New  York.  At  the  Paris  Salon  of  1878  he  exhibited  "  Jeanne 
d'Arc  praying  for  France."  iffi&iuj*  £flA,&0M*  Z6~7A*"^^t^^0jf 

Jadin,  Louis  Godefroy.    (Fr.)    Born  at  Paris,  1805.    Chevalier  tfaifaL 
of  the  Legion  of  Honor.    Pupil  of  Hersent  and  Abel  de  Pujol.    He  JlIL_ 
has  done  some  decorative  paintings,  among  which  are  eight  panels  of  f 
subjects  from  the  chase  in  the  dining-room  of  the  Ministry  of  State,  '  > 
and  a  ceiling  at  the  palace  of  the  Luxembourg,  representing  "  Aurora."  J****4' 
Many  of  his  pictures  are  of  hunts  and  animals.    [Died,  1882.]  ^ 

Jadin,  Emmanuel  Charles.    (Fr.)    Born  at  Paris.    Pupil  of  his  , 
father  and  of  Cabanel.    He  received  a  medal  at  Philadelphia,  where  JtfOM**& 
he  exhibited  "  The  Sheik  Salah  dead  in  his  Tent."    At  the  Salon  of  ^) 
1877  he  exhibited  the  "Resurrection  of  Lazarus";  in  1878,  "The  f     ^  „ 
Return  from  the  Cemetery,  Venice." 

Jaeger,  Gustav.  (Ger.)  Born  at  Leipsic  (1808-  1871).  Director  of 
the  Academy  at  Leipsic.  Pupil  of  the  Academy  at  Dresden,  and  of  4^  /•  ' 
Schnorr  von  Carolsfeld.  Many  of  his  most  important  works  were  "ax**4& 
frescos  ;  among  these  the  decoration  of  a  salon  at  the  chateau  of  the  /  7  £ 
Grand  Duke  of  Weimar.  Cartoons  of  these  pictures  are  in  the  Mu- 
seum  of  Leipsic,  where  are  also  two  paintings  of  religious  subjects.  At  ft*6*-"^" 
Munich  he  executed  one  of  the  frescos  of  the  Grand  Hall  of  the  Nie- 


8         ARTISTS  OF  THE  NINETEENTH  CENTURY. 


belungen.  Among  his  oil-paintings  may  be  mentioned,  "  The  Death 
of  Moses,"  bought  by  the  Society  of  Arts  of  Saxony,  and  "  The  En- 
tombment of  Christ."    Vapereau  says  :  — 

"He  enjoyed  the  reputation  of  a  master  of  German  painting  ;  he  is  praised  for  gran- 
deur of  style,  clearness  of  composition,  nobleness,  expression,  boldness  of  touch,  and, 
with  correct  drawing,  the  sentiment  of  light  and  color." 

Jalabert,  Charles  Francois.  (Fr.)  Born  at  Nimes,  1819.  Officer 
of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  Passed  some 
time  in  Italy.  Has  painted  portraits,  genre  and  religious  subjects. 
His  "  Virgil,  Horace,  and  Varius  at  the  House  of  Msecenas  "  (1847)  is 
at  the  Luxembourg.  In  1873  he  exhibited  at  the  Salon  two  portraits 
of  ladies;  in  1872,  a  portrait  and  "The  Awakening";  in  1870,  two 
portraits.  Among  his  earlier  works  are,  "  Christ  on  the  Mount  of 
Olives,"  "St.  Luke,"  "The  Annunciation,"  "Nymphs  listening  to 
Orpheus,"  "  Romeo  and  Juliet,"  etc.  At  the  Walters  Gallery,  Balti- 
more, is  his  "  Orpheus,"  of  which  the  Sunday  Bulletin,  February  12, 
1876,  says  :  — 

"  A  most  delicately  wrought  and  poetic  composition.  The  grace  and  beauty  of  the 
nymphs,  and  the  soft  and  dreamy  tone  that  is  preserved,  betray  a  peculiarly  happy  con- 
ception and  a  pretty  idea  well  sustained  and  fully  developed.  The  picture  is  in  harmony 
with  Orpheus'  music,  which  is  sensuous,  dreamy,  and  reposeful,  and  with  nothing  too 
real  about  it" 

Also  in  the  same  gallery  is  a  scriptural  subject,  "  Suffer  little  Chil- 
dren to  come  unto  Me,"  and  another  picture  of  a  child. 

"  The  practical  work  of  such  a  painter  as  Jalabert  depends  greatly  on  the  use  of  the 
razor.  First,  the  dead-color  is  laid  of  about  equal  thickness  throughout,  and  then 
scraped  down  with  a  very  sharp  razor  till  it  presents  a  perfectly  smooth  and  even  surface 
everywhere.  On  this  surface,  slightly  oiled,  the  artist  proceeds  to  work,  this  time  in 
thinner  color,  and  after  successive  scrapings  and  repaintings  the  picture  arrives,  finally, 
at  a  sort  of  finish  remarkable  for  an  extreme  equality  of  surface,  which  has  always  a 
certain  charm  for  the  popular  mind.  And  the  popular  mind  is  right  to  some  extent,  for, 
although  roughness  of  loading  would  not  signify  in  the  least  if  the  picture  were  always 
to  be  seen  by  a  light  equally  diffused  over  the  whole  of  its  area,  it  is  true,  nevertheless, 
that  since  pictures  are  always  seen  by  a  light  either  coming  from  above  or  from  one  side, 
many  of  the  rough  projections  of  paint  will  catch  lights  and  project  shadows  of  their  own 
quite  independently  of  the  light  and  shade  of  the  picture,  and  often  altogether  destruc- 
tive to  it.  Horace  Vernet  said,  and  truly,  that  light  resides  in  the  quality  of  the  tone 
and  not  in  the  thickness  of  the  pigment ;  and  the  love  for  smoothness  of  surface  which 
marks  Jalabert  and  some  others  is  perfectly  compatible  with  artistic  power,  both  in 
color  and  chiaroscuro,  whilst  it  is  more  than  1  compatible '  with  drawing,  being  posi- 
tively favorable  to  form.  Of  Jalabert's  works  I  like  his  portraits  best,  and  the  single 
figures  which  resemble  portraits,  and  are,  in  fact,  portraits  of  models,  more  or  less  ideal- 
ized." —  P.  G.  Hamerton,  Painting  in  France. 

Janssen,  Peter  Johann  Theodor.  (Ger.)  Born  at  Diisseldorf, 
1844.  Studied  at  the  Diisseldorf  Academy,  and  adopted  the  manner 
of  E.  Bendemann.  Visited  Munich,  Dresden,  and  Holland.  Painted, 
at  the  Hotel  de  Ville  in  Crefeld,  a  series  of  scenes  from  early  German 
history,  and  at  Bremen,  in  the  Exchange,  a  picture  of  "  The  Com- 
mencement of  Colonization  in  the  Baltic  Provinces."  He  also  painted 
many  smaller  pictures,  historical  subjects  and  portraits.  Recently 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


9 


he  has  undertaken  a  series  of  works  in  the  Hotel  de  Ville  at  Erfurt, 
In  the  National  Gallery  at  Berlin  he  has  also  painted  some  decorative 
works. 

Japy,  Louis  Aime*.  (Fr.)  Born  at  Berne  (Doubs).  Pupil  of 
Francais.  Medals  in  1870  and  '73.  A  painter  of  landscapes.  At 
the  Corcoran  Gallery,  Washington,  are  "  A  Spring  Landscape  "  and 
"Twilight,"  painted  in  1873.  At  the  Salon  of  1878  he  exhibited 
"  Spring  in  the  Valley  of  the  Somme  "  and  "  In  the  Wood  in  April." 

Jeannin,  Georges.  {Fr.)  Born  at  Paris.  Pupil  of  Vincelet. 
Medal  of  the  third  class  in  1878,  when  he  exhibited  "  A  Barrow  of 
Flowers"  and  "A  Basket  of  Flowers"  ;  in  1877,  "After  the  Rain" 
and  "  In  the  Flowers  "  ;  in  1876,  "  The  Flower  Shop "  and  "  A 
Quantity  of  Flowers." 

Jeanron,  Philippe- Auguste.  (Fr.)  Born  at  Boulogne-sur-Mer, 
1809.  Member  of  the  Institute  of  France  and  Officer  of  the  Legion 
of  Honor.  A  writer  and  painter.  His  pictures  are  scenes  from  every- 
day life.  "  The  Little  Patriots,"  the  first  which  he  exhibited,  was 
purchased  by  the  Luxembourg,  and  is  now  at  Caen.  "  The  Flight" 
and  "The  Repose  in  Egypt  "were  bought  by  the  Duke  de  Luynes. 
"  The  Abandoned  Port  of  Ambleteuse  "  is  at  the  Luxembourg.  Jean- 
ron has  made  many  estimable  portraits  ;  also  some  engravings  with 
the  dry  point.  In  1848  he  was  appointed  Director  of  the  Louvre  and 
the  National  Museums.  In  this  position  he  rendered  important 
services  to  the  world  in  his  classification  and  arrangement  of  the  art 
treasures  in  the  Louvre,  in  the  opening  of  the  Egyptian  Museum,  and 
many  other  admirable  additions  to  the  conveniences  for  seeing  the 
little  world  of  wonders  and  beauties  gathered  there.  Since  1860  he 
has  been  the  Director  of  the  Museum  of  Marseilles. 

Jenkins,  Joseph  J.  (Brit)  Born  in  London,  1811.  He  studied 
under  his  father,  an  engraver  in  London,  and  began  his  professional 
life  by  designing  illustrations  for  books  and  magazines.  In  1842  he 
became  a  member  of  the  New  Society  of  Painters  in  Water-Colors, 
resigning,  however,  in  1845.  In  1846  he  went  to  the  Continent, 
spending  some  time  in  study  and  sketching.  In  1849  he  was  elected 
an  Associate  of  the  Old  Water-Color  Society,  full  member  in  1850, 
was  Secretary  for  many  years,  and  is  at  present  a  Trustee  and  regular 
contributor  to  its  exhibitions.  Among  the  better  known  of  his  works 
are,  "  Going  with  the  Stream,"  "  Going  against  the  Stream,"  "  Hopes 
and  Fears,"  "  Happy  Times,"  "  On  the  Thames  at  Mill  End,"  "  Both 
Sides  of  the  Channel,"  "In  Sight  of  Home,"  "A  Creek  on  the 
Blyth,"  "At  Caen,  Normandy,"  "A  Nook  on  the  Thames,"  "Mist 
on  the  Hillside,"  and  others,  many  of  which  have  been  engraved. 

His  "  En  Route  "  was  at  the  Philadelphia  Centennial  Exhibition  ot 
1876. 

Jenks,  Mrs.  Phoebe.    (Am.)    Born  in  Portsmouth,  N.  H.,  1849. 
Studied  art  under  B.  C.  Porter  and  D.  T.  Kendrick  in  Boston,  spending 
1  * 


10       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


her  professional  life  so  far  in  that  city.  She  paints  landscapes,  figures, 
and  portraits,  and  has  exhibited  frequently  of  late  years  in  the  Boston 
Art  Club  and  New  York  Academy  of  Design.  Among  her  works 
are,  a  two-thirds  portrait  of  a  lady  (owned  by  Mrs.  Alvin  Adams 
of  Watertown),  portrait  of  a  child  (in  the  possession  of  W.  H. 
Humphrey,  Boston),  "  Mamma's  Comb"  (belonging  to  Robert  M. 
Mason,  Boston),  "  The  First  Attempt "  and  "  Making  Dolly's  D'ess  " 
(to  Oliver  Ames),  "Priscilla  the  Spinner"  (to  S.  L.  French),  and 
"  Industry  "  (to  Oliver  Ditson).  Her  "  Patience  "  was  at  the  National 
Academy  in  1878. 

Jerichau,  J.  A.  (Dane.)  Born,  1816.  After  studying  awhile  at 
home,  this  sculptor  went  to  Rome,  where  he  had  for  a  master  his 
countryman,  Thorwaldsen.  His  principal  works  are,  "  The  Marriage 
of  Alexander  and  Roxana,"  a  bas-relief  for  a  frieze  of  the  Royal  castle 
at  Copenhagen,  a  colossal  group  of  "  Hercules  and  Hebe/'  "  Pe- 
nelope" (a  chef-d'ceuvre  of  this  artist),  "A  Hunter  devoured  by  a 
Lioness,"  an  "  Ascension  "  (which  took  the  grand  prize  given  by  the 
Princess  Albert  of  Prussia,  whose  property  the  statue  became),  "The 
Creation  of  Eve,"  "Adam  and  Eve  after  the  Fall,"  "A  Sleeping 
Woman,"  "  The  Panther- Hunter,"  and  the  monuments  to  Oersted  and 
Andersen  at  Copenhagen,  which  are  much  admired.  This  sculptor  is 
classical  in  his  correctness  and  purity  of  form.    [Died,  1883.] 

Je rich au-Baum ami,  Mme.  A.  M.  Elizabeth.  (Pole.)  Born  at 
Warsaw  (1818-1881).  Pupil  of  the  Academy  of  Diisseldorf.  This 
painter  had  been  with  her  husband  for  a  long  time  in  Rome.  Her 
pictures  are  of  genre  subjects.  In  1861  she  had  an  honorable  mention 
at  Paris.  Her  "  Reading  of  the  Bible  "  was  a  commission  from  Na- 
poleon III.  Mme.  Jerichau  painted  a  portrait  of  the  Princess  of  Wales 
in  her  wedding-dress,  for  the  Princess  Christian.  Among  her  works 
are,  "  The  Joys  of  a  Mother,"  "  A  Danish  Sailor  drying  his  Nets," 
"  The  Wounded  Soldier,"  "  A  Young  Girl  praying  for  her  Sick 
Mother,"  etc.  At  Berlin,  in  1876,  she  exhibited  "  A  Scene  on  the 
Nile,"  "  A  Portrait  of  a  Sultana,"  and  "  Egyptian  Water-Carriers." 

Jobbe*-Duval,  Felix.  (Fr.)  Born  at  Carhaix,  1821.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  Made  his  debut 
at  the  Salon  of  1841.  In  1875  he  exhibited  three  portraits  ;  in  1874, 
the  same  number  ;  in  1873,  "  The  Mysteries  of  Bacchus  "  and  car- 
toons of  frescos  in  the  Palace  of  Justice  at  Bordeaux  and  in  the 
church  of  Saint-Gervais  at  Paris  ;  in  1872,  "  Wishes  "  and  "  Bouquet  of 
Roses."  Among  his  works  are,  "  The  Descent  from  Calvary,"  some 
frescos  in  the  church  of  Saint-Severin  at  Paris,  and  others  in  the 
Monastery  of  the  Visitation  at  Troyes,  etc.  At  the  Salon  of  1878  he 
exhibited  "  The  Sea." 

Johnson,  Horace  C.  (Am.)  Born  at  Oxford,  Ct,  1820.  Began 
his  art  studies  under  Professor  Morse  in  the  city  of  New  York,  and 
during  the  years  1856,  '57,  and  '58  was  a  pupil  of  William  Page  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  11 


Rome.  His  professional  life  has  been  spent  in  Italy  and  in  his  native 
State,  many  of  his  portraits  being  in  the  possession  of  Connecticut  fami- 
lies. He  is  at  present  a  resident  of  Waterbury.  His  "  Roman  Peas- 
ant on  the  Campagna  "  belongs  to  Mr.  C.  N.  Wayland  of  New  York  ; 
"  Grape- Gatherers  of  Gensano,"  to  Mr.  D'Aubigny  of  New  York  ;  and 
his  portrait  of  Dr.  Samuel  Elton  and  "  The  Roman  Mother  "  are  in 
the  possession  of  Mrs.  John  P.  Elton  of  Waterbury,  Ct. 

Johnson,  David,  N.  A.  {Am.)  Born  in  New  York,  1827.  At 
the  commencement  of  his  career  he  received  a  few  lessons  from  J.  F. 
Cropsey,  but  has  been  a  close  student  of  Nature,  looking  upon  her 
as  his  teacher  and  master.  His  professional  life  has  been  spent  in 
New  York.  He  has  never  been  abroad.  In  1859  Mr.  Johnson  was 
one  of  the  founders  of  the  Artists'  Fund  Society.  He  was  elected  an 
Associate  of  the  National  Academy  in  1860,  and  Academician  in  1862. 
In  1867  he  exhibited  "Echo  Lake";  in  1869,  "On  the  Wallkill 
River  "  ;  in  1870,  "  New  Berlin,  N.  Y.  "  ;  in  1871,  "  View  at  Barry- 
town,  N.  Y.  "  ;  in  1874,  "View  at  Dresden,  Lake  George"  (belonging 
to  Cortland  Palmer)  ;  in  1876,  "  Near  Noroton,  Ct"; in  1877, "Green- 
wood Lake " ;  in  1878,  "  Morning  at  the  Harbor  Islands,  Lake 
George." 

His  "  Lake  George  "  belongs  to  Mrs.  William  H.  King,  N.  Y. ;  his 
"  Hudson  River,"  to  Mrs.  William  H.  Gerrard  ;  his  "  Mount  Lafay- 
ette," to  John  J.  Cisco  ;  his  "  October  on  the  Erie  Railway,"  to  E.  A. 
Munson,  Utica  ;  his  "  Spring  at  Mount  Vernon,"  to  Bryan  Smith  of 
Brooklyn.  His  "  Housatonic  River,"  exhibited  at  the  Paris  Salon  in 
1877,  belongs  to  L.  A.  Lanthier,  N.  Y. 

To  the  Centennial  Exhibition  of  1876  he  sent  "  Scenery  on  the 
Housatonic"  (belonging  to  Mrs.  J.  Bullard),  "  Old  Man  of  the  Moun- 
tain" (belonging  to  Richard  Taft),  and  "A  Brook  Study,  Orange 
County,  N.  Y.,"  receiving  one  of  the  first  awards. 

Johnson,  Eastman,  N.  A.  (Am.)  Born  in  Maine,  1824.  As  a  young 
man  he  began  the  practice  of  his  profession  by  the  execution  of  por- 
traits in  black  and  white,  showing  considerable  skill,  and  meeting 
with  some  success  in  that  branch  of  the  art.  Going  abroad,  he  studied 
for  two  years  in  Diisseldorf,  for  the  first  time  painting  in  oil.  He 
subsequently  studied  in  Italy,  Paris,  Holland,  and  at  The  Hague, 
where  he  remained  four  years,  and  executed  his  first  important  works, 
"  Card-Players,"  "  Savoyard  Boy,"  and  others.  Returning  to  Amer- 
ica, he  opened  a  studio  in  New  York,  and  was  made  a  member  of  the 
National  Academy  in  1860,  painting  those  original  sketches  and  pic- 
tures of  American  domestic  and  negro  life  in  which  he  so  decidedly 
excels.  Among  the  earlier  of  these  works  (many  of  which  have  been 
chromoed,  lithographed,  and  engraved)  are  his  "  Girls  by  the  Stove," 
"Boys  at  the  Ragged  School,"  "Post-Boy,"  "Sunday  Morning," 
"  Hard  Cider,"  "  Washington's  Kitchen,  Mt.  Vernon,"  "  Old  Kentucky 
Home,"  "  Crossing  a  Stream,"  "  Chimney- Sweep  "  (belonging  to  T.  R- 


12       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Butler),  "  The  Drummer-Boy,"  and  others  illustrative  of  the  life  of 
the  American  soldier  during  the  Civil  War.  He  sent  to  the  National 
Academy,  in  1869,  "The  Art-Lover";  in  1871,  "The  Old  Stage- 
Coach  "  ;  in  1873,  "  The  Woodland  Bath,"  "  Catching  the  Bee,"  and 
"The  Sulky  Boy  "  ;  in  1874,  "The  Tea-Party,"  "Bo-Peep,"  and  "A 
Prisoner  of  State";  in  1875,  "Milton  dictating  to  his  Daughter," 
"The  Toilet,"  and  "The  Peddler";  in  1876,  "The  Husking-Bee  " 
and  "The  New  Bonnet";  in  1877,  "Dropping  Off"  (belonging  to 
R.  H.  Stoddard)  and  "  The  Tramp "  ;  in  1878,  portraits  of  Dr. 
Potter  of  Union  College,  Chief  Justice  Daly,  and  "Children  playing 
in  a  Barn."  At  the  Mechanics'  Fair,  Boston,  1878,  was  exhibited 
"The  Lullaby"  (belonging to  Mr.  E.  D.  Maynard). 

His  "  New  England  Boy  at  Breakfast,"  "  Chimney-Corner,"  and 
"  Wandering  Fiddler  "  were  in  the  Johnston  Collection,  the  last  selling 
for  $  2,375.  His  "  Old  Kentucky  Home  "  (belonging  to  R.  L.  Stuart) 
was  in  the  Paris  Exposition  of  1867,  and  the  American  Centennial 
Exhibition  of  1876.  His  "Old  Stage-Coach"  is  the  property  of 
George  Whitney;  "Sabbath  Morning,"  of  R.  L.  Stuart;  "  Bo-Peep," 
of  H.  Richmond.  "  Tender  Passion  "  is  in  the  Walters  Collection  in 
Baltimore.  His  "  Corn- Husking  "  and  "  What  the  Sea  says  "  were  at 
the  Paris  Exposition  of  1878.  His  "  Mother  and  Child  "  belongs  to 
Abner  Mellen,  Jr.,  of  New  York. 

Among  Eastman  Johnson's  portraits  is  one  of  A.  B.  Stone. 

"  In  his  delineation  of  the  negro  Eastman  Johnson  has  achieved  a  peculiar  fame. 
One  may  find  in  his  best  pictures  of  this  class  a  better  insight  into  the  normal  character 

of  that  unfortunate  race  than  ethnological  discussion  often  yields  'The  Old 

Kentucky  Home '  is  not  only  a  masterly  work  of  art,  full  of  truth,  nature,  local  signifi- 
cance, and  character,  but  it  illustrates  a  phase  of  American  life  which  the  late  war  and 
its  consequences  will  either  uproot  or  essentially  modify  ;  and  therefore  this  picture  is 
as  valuable  as  a  memorial  as  it  is  interesting  as  an  art  study."  —  Tuckerman's  Book  of 
the  Artists. 

"  In  genre  Mr.  Eastman  Johnson  contributed  the  '  Prisoner  of  State,'  'The  Old  Ken- 
tucky Home,'  'Sunday  Morning,'  and  'The  Old  Stage-Coach, '  which  are  all  representa- 
tive of  the  acknowledged  excellence  of  his  style.  Mr.  Johnson's  subjects  are  derived 
fresh  from  nature,  and  are  generally  illustrative  of  characteristic  traits  of  American  life 
and  customs.  They  are  carefully  studied,  and  always  expressive  of  genuine  feeling. 
They  are  not  altogether  free  from  uncertainty  of  form  and  touch  and  monotony  of  tone, 
but  no  one  has  more  decided  individuality  and  independence  in  choice  and  treatment 
of  subject  than  this  artist.  His  pictures  bear  the  unmistakable  stamp  of  originality. 
We  are  never  reminded  in  them  of  the  influence  of  schools  or  foreign  methods  ;  they 
rest  upon  their  own  merits,  and  the  only  comparisons  they  suggest  are  those  afforded  by 
the  truths  of  nature.  '  The  Old  Kentucky  Home  *  is  the  picture  that  first  gave  him  his 
reputation,  which  every  succeeding  work  has  sustained  and  increased.  '  The  Old  Stage- 
Coach '  displays  greater  maturity  of  method  and  breadth  of  treatment,  but  in  accurate 
delineation  of  character  '  The  Old  Kentucky  Home  '  is  hardly  surpassed.  The  impres- 
sion made  by  Mr.  Johnson's  pictures  is  a  genuine  one.  We  instinctively  feel  that  the 
artist  himself  was  impressed,  and  sought  to  express  something  that  touched  his  sympa- 
thies forcibly.  This  is  their  interest  and  power,  and  criticism  starts  from  this  sourc* 
rather  than  from  the  mere  pictorial  elements  of  technical  merit  that  usually,  in  artists 
of  less  character,  first  engage  the  attention. "  —  Prof.  Weir's  Official  Report  of  the  Ameri- 
can Centennial  Exhibition  o/1876. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  13 


Johnson,  Edward  Killingworth.  {Brit.)  Born  at  Stratford-le- 
Bow,  near  London,  1825.  He  displayed  a  marked  talent  for  art  at  an 
early  age,  but  has  never  studied  under  any  masters.  For  some  years, 
however,  he  copied  at  the  Langham  Life  School,  and  has  drawn  a  great 
deal  upon  wood.  He  began  painting  as  a  profession  about  1863.  In 
1866  he  was  elected  an  Associate  of  the  Society  of  Painters  in  Water- 
Colors,  and  a  full  member  in  1876.  He  resided  in  London  until  1871, 
when  he  removed  to  a  small  ancestral  property  in  North  Essex,  where 
his  studio  still  is  (1884).  Among  his  more  important  works  are,  "  The 
Anxious  Mother"  (Water-Color  Exhibition  in  1876,  engraved  in  1878 
and  purchased  by  Birket  Foster),  "  The  Reader  "  (exhibited  in  Lon- 
don, 1874,  Birmingham,  1875,  and  owned  by  John  Jaffray  of  the  latter 
city),  "  A  Golden  Swarm "  (1877),  "The  Rival  Florists  "  (exhibited 
in  New  York  in  1873,  and  belonging  to  G.  B.  Warren,  Jr.,  of  Troy, 
N.  Y.),  "A  Peep  into  the  Letter-Bag,"  and  "Going  to  Bed"  (1878). 
He  sent  "A  Study"  to  the  Philadelphia  Exhibition  of  1876,  and 
"The  Anxious  Mother"  to  the  Paris  Exposition  of  - 1878. 

"  We  can  certainly  characterize  '  The  Rival  Florists '  as  one  of  the  most  remarkable 
pictures  of  its  kind  ever  brought  to  this  country."  —  New  York  Times,  February  16, 1873. 

"  Killingworth  Johnson's  '  Intruders '  [New  York  Water-Color  Exhibition,  1876]  has 
been  received  with  expressions  of  the  highest  praise.  The  picture  is  open  to  criticism 
perhaps,  owing  to  the  absence  of  positive  shadows,  but  its  aim  is  so  high  and  its  motive 
so  charming  that  it  commands  admiration  in  spite  of  any  mere  defect. "  —  Art  Journal, 
March,  1876. 

"  Mr.  E.  K.  Johnson  sends  only  one  contribution  to  this  exhibition,  but  in  that  he 
seems  to  have  determined  to  concentrate  all  the  beautiful  color  and  delicacy  and  brill- 
iancy characteristic  of  his  work.  '  A  Golden  Swarm  '  takes  us  into  a  garden  which  is 
simply  a  blaze  of  flowers  and  sunlight.  Of  course  the  women  are  beautiful  women,  for 
Mr.  Johnson  does  not  admit  the  halt  and  the  lame  and  the  blind  into  these  earthly  para- 
dises of  his  The  action  of  the  female  figure  in  the  center  of  the  picture  is  ex- 
tremely graceful,  and  the  child  beside  her  is  charming  in  attitude  and  expression."  — 
London  Daily  News,  May  19,  1877. 

Johnson,  Frost.  (Am.)  Born  in  New  York,  1835.  After  copy- 
ing for  a  short  time  in  Milwaukee  he  studied  for  two  years  under 
Professor  Cummings  in  the  Antique  and  Life  Schools  of  the  Academy 
of  Design,  in  his  native  city.  He  went  to  Europe  in  1859,  entering 
the  Art  Academy  of  Dusseldorf,  and  remaining  until  1861,  when  he 
became  a  student  of  the  Academy  of  St.  Luke  in  Antwerp.  In  1863 
he  went  to  Paris,  drawing  in  l'Ecole  des  Beaux- Arts,  and  from  1865 
to  '69  he  was  a  pupil  of  Edward  Frere  at  Iilcouen.  He  spent  some 
time  in  the  practice  of  his  profession  in  London,  and  is  at  present  a 
resident  of  New  York.  Among  Frost  Johnson's  earlier  pictures  may 
be  noted,  "  Grandmother's  Spectacles "  (belonging  to  Mr.  Morrill  of 
Boston),  "  The  First  Whiff,"  "  Caught  at  It,"  "  The  Broken  Bot- 
tle," and  "  The  Arithmetic  Lesson  "  (owned  in  Milwaukee,  Wis.). 
His  "  Les  pommes  "  and  a  "  Study  of  an  Interior  "  were  at  the  Paris 
Salon  of  1869,  and  at  the  National  Academy,  New  York,  some  years 
later.    His  "  Roasted  Chestnuts "  belongs  to  S.  D.  Warren  of  Bos- 


14       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ton ;  "  Good  Night "  and  a  portrait,  to  G.  W.  Hollis  of  the  same 
city.  Alvah  Hall  of  New  York  owns  "  La  petite  flaneuse."  Menzo 
Diefendorf  of  New  York  owns  "  Last  and  Best,"  which  was  painted 
for  the  Arcadian  Club.  "  The  Bouquet,"  portrait  of  Lady  Helena 
Blackwood,  is  in  the  collection  of  her  father,  Earl  Dufferin.  His 
"  Neglected  Lesson,"  "  Does  your  Mother  know  you  're  out  1 "  "  Love 
Me,  Love  Me  Not/'  "  Stitch  in  Time,"  and  others,  have  been  exhib- 
ited in  New  York,  Brooklyn,  Buffalo,  and  other  cities.  To  the  Phila- 
delphia Centennial  Exhibition  of  1876  he  contributed  "  Good  Night  " 
and  "A  Thirsty  Party." 

"  Frost  Johnson  is  profitably  occupied  with  several  pieces  of  still-life  which  are  prin- 
cipally remarkable  for  their  rich  and  subtle  contrasts  of  color  The  artist's  studies 

in  heads,  mostly  taken  abroad,  are  unique.  They  are  simply  studies  of  coloration  from 
Nature,  and  unite  individuality  of  color  with  strength  of  effect. "  —  New  York  Herald, 
December  12,  1872. 

"Mr.  Frost  Johnson  has  recently  completed  a  cabinet  picture,  the  central  and  only 
figure  of  which  is  a  portrait  of  the  daughter  of  the  Earl  of  Dufferin,  remarkable  not  only 
for  artistic  treatment,  but  for  the  thorough  mastery  with  which  conventional  laws  in  re- 
gard to  color  have  been  controlled  and  subordinated  to  the  final  and  most  admirable 
effect. "  —  Baltimore  American,  October  13,  1877. 

"  Mr.  Frost  Johnson  has  just  completed  a  picture  which  has  attracted  the  attention  of 
connoisseurs,  and  is  of  peculiar  interest,  not  only  for  the  admirable  finish  of  the  work, 
but  for  a  certain  departure  from  the  recognized  conventions  of  art.  The  picture  is  a 
small  one,  only  cabinet  size,  and  was  painted  as  a  portrait  of  the  young  daughter  of  the 
Earl  of  Dufferin,  but  the  arrangement  of  color,  the  distribution  of  accessories,  and  the 
effect  obtained  from  light  through  a  draperied  window  is  so  thoroughly  fine,  and  in  some 
respects  original,  as  to  justify  the  high  approval  expressed  from  the  most  authoritative 
sources."  —  New  York  Graphic,  October  16,  1877. 

Johnston,  Alexander.  (Brit.)  Born  in  Scotland,  1815.  Pupil 
of  the  Trustees  Academy  of  Edinburgh,  and  later  of  the  schools  of 
the  Royal  Academy.  Began  to  exhibit,  about  1835,  portraits  and  his- 
torical figure  pictures.  Among  his  earlier  works  are,  "  The  Mother's 
Grave,"  in  1839;  "The  Gentle  Shepherd,"  in  1840;  "The  Cove- 
nanter's Marriage,"  in  1842  ;  "  Prince  Charley  and  Flora  Macdonald," 
in  1847  ;  "  The  Trial  of  Archbishop  Laud,"  in  1849  ;  "  Tyndal  trans- 
lating the  Bible,"  in  1854  ;  "  John  Bunyan  in  Bedford  Jail,"  in  1861  ; 
and  "  The  Land  o'  the  Leal,"  in  1863.  His  "  Press-Gang  "  was  in  the 
International  Exhibition  of  1862,  and  his  "  Last  Sacrament  of  Lord 
Russell  in  the  Tower,"  painted  in  1845  (belonging  to  the  Vernon  Col- 
lection), is  now  in  the  National  Gallery  of  London.  In  1868  he  sent 
to  the  Royal  Academy,  "The  Billet-Doux"  ;  in  1870,  "  Juliet"  ;  in 
1871,  "Isaac  Watts  and  his  Mother";  in  1873,  "The  Turning- 
Point"  ;  in  1874,  "Tired"  ;  in  1875,  "Ought  I  to  do  it?"  ;  in  1876, 
"Bonnie  Lesley"  and  "The  Kettledrum-Quadrille";  in  1877,  "A 
Waif"  ;  in  1878,  "Preparing  for  Conquest."  His  "  Turning-Point " 
was  at  the  Paris  Exposition  of  1878. 

"The  figure  here  ['  II  Penseroso,'  by  Alexander  Johnston,  R.  A.,  1870]  is  of  a  nun,  of 
stately  and  dignified  form,  who  has  walked  forth  in  the  evening  twilight  and  stands  fixed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  15 


in  contemplation  of  the  heavens.  The  conception  is  fine,  and  the  expression  of  the  face, 

though  somewhat  severe,  is  appropriate  to  the  sentiment  The  license  taken  by  the 

artist  in  the  landscape  affects  in  no  degree  the  excellence  of  the  composition  as  an  ex- 
ample throughout  of  good  and  sound  painting  and  of  poetic  feeling." — Art  Journal, 
May,  1873. 

Jones,  George,  E.  A.  (Brit.)  (1786-1869.)  Son  of  a  well- 
known  mezzotint  engraver.  He  entered  the  Royal  Academy  in  1801, 
but  lie  joined  the  army  under  Wellington  on  the  breaking  out  of  the 
Peninsular  War,  and  did  not  practice  art  until  its  close  in  1815,  when 
he  painted  street-scenes  of  English  and  Continental  cities  for  some 
years  ;  finally  turning  his  attention  to  war  subjects,  in  which  he  was 
very  successful.  Among  the  many  works  of  this  description,  painted 
during  his  long  career,  may  be  mentioned,  "  Waterloo,"  "  Lucknow," 
"  Alma,"  and  "  Balaklava."  He  painted  also  many  pictures  in  water- 
colors,  and  pictures  of  an  historical  character  in  oil,  the  more  impor- 
tant being  "  The  Coronation  of  George  IV.,"  "  The  Passage  of  the 
Reform-Bill,"  and  "  The  Opening  of  the  New  London  Bridge."  His 
"  Fiery  Furnace,"  "  Lady  Godiva,"  and  two  battle-pieces  are  in  the 
National  Gallery,  London.  He  was  made  an  Associate  of  the  Royal 
Academy  in  1822,  and  Academician  in  1824,  Librarian  of  1834,  and 
Keeper  in  1850.  He  received  from  the  British  Institute,  in  1820,  a 
premium  of  £  200  for  his  "  Waterloo."  Several  of  his  pictures  have 
been  engraved. 

Jones,  Owen.  (Brit.)  Born  in  Wales  (1809  -  1874).  Spent  some 
years  in  the  office  of  a  well-known  London  architect,  and  later  visited 
the  Continent  and  the  East.  He  was  one  of  the  superintending  archi- 
tects of  the  Crystal  Palace  at  Sydenham,  erected  in  1851,  devoting 
himself  particularly  to  its  decoration,  and  in  1873  he  received  a  medal 
for  designs  furnished  for  the  Exposition  buildings  at  Vienna.  He  was 
well  known  as  a  writer  on  subjects  connected  with  his  profession,  pub- 
lishing, in  1836,  his  "  Alhambra,"  containing  over  a  hundred  valuable 
plates  ;  in  1842,  "  Views  on  the  Nile"  ;  in  1856,  a  "  Grammar  of  Or- 
nament," and  several  handbooks  to  the  various  courts  of  the  Crystal 
Palace,  etc.  He  was  architect  of  St.  James'  Hall,  Piccadilly,  probably 
his  most  important  work. 

Jones,  Alfred.  (Am.)  Born  in  Liverpool,  1819.  Came  to  Amer- 
ica very  early  in  life.  He  received  the  first  prize  at  the  National 
Academy  of  Design  in  New  York,  in  1839,  for  a  drawing  from  Thor- 
waldsen's  Mercury.  "  The  Proposal,"  after  Durand,  and  "  The  Farm- 
er's Nooning,"  after  W.  S.  Mount,  first  called  attention  to  him,  and 
his  work  was  sought  for  the  illustrated  publications  of  the  day.  In 
1846  he  went  to  Europe.  He  there  studied  in  life  schools,  devoted 
himself  to  his  profession,  and  was  elected  a  member  of  the  National 
Academy,  New  York,  in  1851.  He  sometimes  paints  in  oil  and  water- 
colors.  He  is  one  of  the  foremost  American  engravers.  His  plate  of 
the  "  Image-Breaker,"  after  Leutze,  is  one  of  his  best.  Among  his 
plates  are  Adoniram  Judson  (half  length,  sitting),. after  Chester  Hard- 


16       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ing  ;  William  Cullen  Bryant  (head  and  full  bust),  after  A.  B.  Durand  ; 
"  The  Capture  of  Major  Andre/'  after  Durand  ;  "  Sparking,"  after 
Edmonds  ;  "  The  New  Scholar,"  after  Edmonds  ;  "  Mexican  News," 
after  E.  C.  Woodville  ;  and  several  portraits. 

Jones,  H.  Bolton,  N.  A.  {Am.)  Born  in  Baltimore,  receiving  his 
art  education  and  spending  the  greater  part  of  his  professional  life  in 
his  native  city.  In  1877  he  made  a  sketching-tour  in  Brittany  and 
Spain,  sending  the  results  of  his  labors  to  Baltimore,  where  several  of 
his  pictures  were  exhibited  in  1878.  He  has  been  a  regular  contributor 
to  the  National  Academy  since  1874,  where  he  sent  "  Summer  on  the 
Blue  Ridge,"  followed  in  other  seasons  by  "  September  Afternoon," 
"Hunter's  Camp,  Maryland,"  "Old  Fort  Ticonderoga,"  "At  the 
Edge  of  the  Moor,"  "The  Parable  of  the  Sower,"  "After  the  Shower," 
"  Spring  in  Brittany,"  and  "  Taking  Geese  to  Market."  "  The  Ferry 
Inn "  was  at  the  Centennial  Exhibition  of  1876  ;  "  Return  of  the 
Cows,  Brittany,"  at  the  Paris  Exposition  of  1878  ;  and  to  the  Paris 
Salon  of  the  same  year  he  sent  "  A  Heath  in  Bloom,  Brittany." 

Jongkind,  Johan  Barthold.  {Dutch.)  Born  at  Latrop,  about 
1822.  He  left  Holland  at  an  early  age,  and  studied  marine-painting 
under  Isabey  at  Paris.  He  made  his  debut  at  the  Salon  of  1845,  and 
received  in  1852  a  medal  of  the  third  class.  Perhaps  this  artist  is 
more  interesting  as  an  etcher  than  as  a  painter.  Charles  Baudelaire, 
in  "  L'Art  Romantique,"  calls  him  a  "  charming  and  candid  artist,"  and 
speaks  of  his  etchings  as  "abbreviations  of  his  painting  "  and  sketches, 
which  amateurs  who  are  accustomed  to  find  the  soul  of  an  artist  in  his 
most  rapid  scrawls  (gribouillages)  will  know  how  to  read. 

"  The  purpose  of  his  art  as  an  etcher  may  be  explained  in  a  few  words.  All  landscape- 
painters  make  memoranda  of  impressions,  which  must  of  necessity  be  done  very  rapidly 
if  they  are  to  be  worth  anything,  because  the  effects  in  nature  change  so  fast  that  they 
cannot  be  sketched  at  all  by  a  slow  hand.  Jongkind  has  so  far  trusted  to  the  intelli- 
gence of  the  public  (or  of  the  small  cultivated  public  to  which  he  addresses  himself)  as 
to  make  memoranda  of  impressions  directly  upon  copper,  and  print  them.  This  is  the 
whole  explanation  of  his  work  as  an  etcher.  But  now  comes  the  person  living  outside 
of  art,  who,  when  he  sees  one  of  these  etchings,  feels  first  puzzled  and  then  offended, 
and  thinks  that  both  artist  and  laudatory  critic  must  be  making  fun  of  him.  '  Could 
not  any  child  of  ten  years  old  do  as  well  ?  '  The  true  answer  to  this  question  (it  is  not 
an  imaginary  question)  is,  that,  rude  as  this  sketching  looks,  and  imperfect  in  many 
respects  as  it  really  is,  the  qualities  which  belong  to  it  are  never  attained  in  art  without 
the  combination  of  talent  approaching  to  genius,  and  study  of  a  very  observant  and 
earnest  kind,  quite  beyond  any  possible  experience  of  infancy.  The  right  way  to  esti- 
mate work  of  this  nature  is  to  look  upon  it  as  the  artist's  manner  of  noting  down  an 
impression  in  all  its  freshness.  Jongkind  succeeds  in  doing  this,  either  by  an  uncon- 
sciousness which  is  itself  a  great  gift,  or  else  by  an  effort  of  will  strong  enough  to  set 
himself  entirely  above  the  criticism  of  ignorance.  There  is  something  approaching  to 
sublimity  in  the  courage  which  was  needed  to  send  plates  of  this  description  to  the 
printer.  All  landscape-painters  have  made  memoranda  of  this  class,  though  they  rarely 
make  them  quite  so  well,  but  Jongkind  is  the  first  who  has  had  the  courage  to  publish 
them.  It  seems  like  the  rashness  which  tempts  Providence  to  set  these  things  before 
the  French  bourgeois  or  the  English  Philistine,  for  the  only  public  they  are  fit  for  is  a 
public  of  true  amateurs  or  artists  ;  but  whoever  can  really  read  them  is  in  a  fair  way  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


17 


being  able  to  read  all  painting  that  sets  itself  honestly  to  the  rendering  of  the  mutual 
impression  in  its  unity."  — Hamerton,  Etching  and  Etchers. 

Some  of  the  best  of  these  etchings  are,  "  The  Town  of  Maaslins, 
Holland  "  (1862),  "  Entrance  to  the  Port  of  Honfleur  "  (1863),  "  Sortie 
du  Port  de  Honfleur  "  (1864),  and  "  View  of  the  Scheldt  at  Antwerp, 
—  Setting- Sun"  (1869).  Jongkind  has  exhibited  many  pictures  of 
Dutch  scenery  ;  several  of  them  are  views  in  and  about  Dordrecht. 

Jooravlef,  F.  (Russian.)  Of  St.  Petersburg.  At  Philadelphia  he 
exhibited  a  picture  of  "  The  Dinner  after  the  Funeral,"  for  which  he 
received  a  medal.  The  same  work  was  at  the  Paris  Exposition  in 
1878,  together  with  "  The  Blessing  of  the  Betrothed." 

Jopling,  Joseph  M.  (Brit.)  Born  in  London,  1831.  Studying 
in  no  schools  and  under  no  masters,  he  has  spent  his  professional  life 
in  his  native  city,  with  the  exception  of  three  winters  devoted  to 
work  and  observation  in  Rome.  He  was  elected  an  Associate  of  the 
New  Society  of  Painters  in  Water-Colors  in  1859,  resigning  in  1876. 
He  received  a  silver  medal  at  the  Crystal  Palace  in  1876,  and  a  medal 
at  the  International  Exhibition  at  Philadelphia  the  same  year. 
Among  his  works  may  be  mentioned,  "  The  Tea-Rose,"  "  The  Fair 
Florist,"  "  Autumn,"  "  Joan  of  Arc  at  her  Trial,"  "  Baiting  the  Line," 
etc.  To  Philadelphia,  in  1876,  he  sent  "Flossy"  (belonging  to  the 
Right  Hon.  Cooper  Temple),  "  Winter,"  and  "  In  the  Conservatory." 
At  the  Grosvenor  Gallery  in  1878  was  a  portrait  of  M.  Rouzaud  in 
armor  of  the  sixteenth  century,  and  several  fruit  and  flower  pieces. 

Jopling,  Mrs.  Louise.  (Brit.)  Wife  of  Joseph  M.  Jopling.  She 
was  born  in  Manchester,  in  1843,  and  learned  to  draw  for  the  first  time 
in  1867.  She  studied  in  Paris  under  Charles  Chaplin  and  Alfred 
Stevens,  exhibiting  frequently  for  some  years  at  the  Royal  Academy, 
the  Dudley  and  Grosvenor  Galleries,  and  elsewhere  in  England. 
Among  her  more  important  works  are,  "Five-o'clock  Tea,"  at  the 
Royal  Academy  in  1874  (purchased  by  the  Messrs.  Agnew),  "  The 
Modern  Cinderella,"  "  It  might  have  been,"  etc.  Her  "  Five  Sisters 
of  York  "  was  at  the  Philadelphia  Exhibition  of  1876  ;  "  The  Modern 
Cinderella,"  at  the  Paris  Exhibition  of  1878. 

"  'The  Five-o'clock  Tea '  is  the  largest  and  most  important  design  we  have  seen  from 
Mrs.  Jopling's  hand,  and  in  the  disposition  of  the  various  figures  and  the  management 
of  color,  it  certainly  exhibits  very  remarkable  technical  gifts.  Especially  do  we  notice 
in  this  lady's  work  a  correct  understanding  of  the  laws  of  tone,  very  rare  to  find  in  the 
works  of  English  painters,  giving  the  artist  power  to  bring  different  tints,  even  if  they 
are  not  harmonious,  into  right  relations  one  with  another."  —  Art  Journal,  July,  1874. 

Jordan,  Rudolf.  (Ger.)  Born  at  Berlin,  1810.  Member  of  the 
Academies  of  Berlin,  Dresden,  and  Amsterdam,  and  Knight  of  several 
Orders.  Medal  at  Philadelphia.  Pupil  of  the  Academy  of  Berlin 
and  of  Wach.  He  at  first  painted  religious  subjects,  but  is  most  ad- 
mired in  genre  pictures.  At  the  National  Gallery,  Berlin,  are,  "  The 
Offer  of  Marriage  in  Heligoland,"  "Death  of  a  Pilot,"  "A  Scene  in 
Normandy,"  "  An  Old  Man's  Home  in  Holland,"  and  "  The  Widow's 

B 


18       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Consolation"  ;  the  last  is  in  the  National  Gallery,  Berlin,  and  was 
sent  to  the  Paris  Exposition  in  1878.  The  "  Offer  of  Marriage"  is  the 
first  work  which  gave  him  reputation.  Jordan  is  also  a  writer  on  art, 
and  is  much  interested  in  its  history.  At  Berlin  in  1876  he  exhibited 
"  The  Boats  have  all  returned  ;  One  alone  is  wanting." 

Jouffroy,  Francois.  (Fr.)  Born  at  Dijon,  1806.  Member  of 
the  Institute.  Officer  of  the  Legion  of  Honor.  Grand  prix  de  Rome 
in  1832.  Professor  of  Sculpture  at  l'licole  des  Beaux- Arts.  His 
"  Ingenuousness;  or,  a  Young  Girl  telling  her  First  Secret  to  Venus " 
is  at  the  Luxembourg.  Jouffroy  has  executed  various  busts  for  private 
persons,  and  a  "  Benitier "  for  the  church  of  Saint-Germain-l'Auxer- 
rois,  Paris,  from  the  design  of  Mme.  Lamartine.  He  was  charged 
with  the  decoration  of  the  new  church  of  Saint- Augustin,  and  has 
done  many  other  decorative  works  for  public  edifices.    [Died,  1882.] 

Jourdan,  Adolphe.  (Fr.)  Born  at  Nimes.  Medals  in  1864,  '66, 
and '69.  Pupil  of  Jalabert.  At  the  Salon  of  1877  he  exhibited  "A 
Breakfast  at  Saint-Honorat "  ;  in  1876,  "The  Good-By"  and  "The 
Three  Friends."  At  the  Johnston  sale,  New  York,  1876,  "A  Young 
Italian  Mother"  (39  by  31)  sold  for  $  2,300.  At  the  Salon  of  1878 
he  exhibited  a  portrait  and  "  The  Banks  of  the  Gardon." 

Jundt,  Gustave.  (Fr.)  Born  at  Strasbourg,  1830.  Medals  in 
1868  and  '73,  and  at  Philadelphia,  1876.  Pupil  of  Guerin,  and  (at 
Paris)  of  Drolling  and  Biennourry.  He  traveled  somewhat,  and  made 
his  debut  at  the  Paris  Salon  in  1856  with  the  "Fete  of  the  Village." 
Since  then  he  has  sent  works  to  nearly  every  Salon,  among  which 
may  be  named,  "  Near  a  Fountain,"  "  Alpine  Strawberries,"  "  May- 
flowers," "  Cutting  Hair  at  the  Fair  of  La  Tour  in  Auvergne "  (sent 
to  Philadelphia),  "  It  Rains  !  —  Swiss  Oberland,"  "  The  Pence  of  St. 
Anne,"  "  Sunday  Morning,"  "  The  Time  of  the  Wedding,"  etc. 

This  artist  also  makes  many  caricatures  and  illustrations  for  publi- 
cations, such  as  "  L'Histoire  de  la  Poupee,"  "  Le  Poltron,"  "  Polichi- 
nelle,"  etc.     [Died,  1884.] 

"  He  draws,  as  one  walks,  without  seeming  thought,  and  he  paints,  as  one  talks, 
always  improvising.  Only  there  are  some  men  who  have  a  good  appearance  in  walking, 
while  they  scarcely  think  of  it,  and  those  who  talk  with  wit  and  humor  without 
making  any  pretensions.  It  is  precisely  in  this  manner  that  Jundt  paints.  His  pic- 
tures have  some  piquant  improvisations  in  which  malice  overflows  ;  gawky  awkward- 
ness takes  under  his  lively  and  animated  touch  an  air  of  amusing  good-nature  

As  a  painter  he  may  be  reproached  with  certain  defects,  but  he  possesses  one  very  rare 
quality,  he  has  incontestable  originality.  Jundt  is  one  of  the  few  who  might  dispense 
with  signatures  on  his  pictures. "  —  Rene  Menard,  VArt  en  Alsace-Lorraine. 

Kaemmerer,  Frederic  Henri.  (Dutch)  Born  at  the  Hague. 
Medal  at  Paris  in  1874.  Pupil  of  Gerome.  At  the  Salon  of  1877 
he  exhibited  "  A  Party  at  Cricket "  ;  in  1875,  "  A  Winter  Day  in 
Holland  "  ;  in  1874,  "The  Beach  at  Scheveningen," now  in  the  Cor- 
coran Gallery  at  Washington.  At  the  Latham  sale,  New  York, 
1878,  "  Autumn,  —  Terrace  of  the  Tuileries,  1790  "  (24  by  16)  sold 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  19 


for  $1,125.  Knoedler  &  Co.  exhibited,  in  1878,  his  "Going  to 
Church  in  the  Olden  Time."  At  the  Salon  of  1878  he  exhibited  "A 
Baptism." 

Kalckreuth,  Stanislaus,  Count  of.  {Pole.)  Born  at  Kozmin, 
1821.  Professor  and  member  of  the  Academy  of  Berlin,  and  member 
of  the  Academies  of  Amsterdam  and  Rotterdam.  Medals  at  Berlin, 
Vienna,  and  Bordeaux.  Studied  in  Berlin  and  Polnisch-Lissa. 
After  several  years  of  military  life  he  studied  under  Krause  and 
Schirmer.  His  progress  attracted  the  attention  of  the  King,  who 
gave  him  commissions.  In  1860  an  art  school  was  established  at 
Weimar  by  the  Grand  Duke  of  Saxony,  and  Kalckreuth  became 
its  conductor.  During  student  travels  which  he  made  he  visited 
Switzerland  and  Spain,  saw  a  large  part  of  Germany,  and  spent  some 
time  in  Vienna.  In  1876  he  gave  up  his  office  at  Weimar  and  set- 
tied  in  Kreuznach.  His  representation  of  Alpine  scenery  is  espe- 
cially happy,  and  remarkable  for  the  effects  of  light  and  shade.  At 
the  National  Gallery,  Berlin,  are  his  "  Lake  of  Gaube  in  the  Upper 
Pyrenees  "  and  "  Canagai  Valley  in  the  Eastern  Pyrenees."  At  Ber- 
lin, in  1876,  he  exhibited  the  "  Lake  of  Thun."  At  the  Paris  Expo- 
sition of  1878  was  seen  his  "  Mont  Blanc  "  (belonging  to  the  Emperor 
of  Germany). 

Kaufmann,  Theodor.  (Ger.-Am.)  Born  in  Hanover,  1814. 
Studied  art  in  Hamburg  and  at  Munich,  where  he  was  a  pupil  of 
Hess.  He  practiced  his  profession  for  a  few  years  in  Europe,  settling 
in  America  in  1850.  Among  the  better  known  of  his  pictures 
painted  in  this  country  are,  "  On  to  Liberty,"  "  A  Railway  Train  at- 
tacked by  Indians,"  and  "  General  Sherman  near  the  Watchfire." 

In  1871  he  published  a  work  entitled  "The  American  Painting- 
Book."    He  resided  in  Boston  for  some  years. 

Kaulbach,  Wilhelm  von.  (Ger.)  Born  at  Arolsen  (1805  -  1874). 
Officer  of  the  Legion  of  Honor.  Correspondent  of  the  Institute.  He 
received  many  decorations,  and  was  member  of  several  academies. 
At  the  age  of  seventeen  he  was  placed  in  the  Academy  of  Dusseldorf, 
then  under  the  direction  of  Cornelius.  When  twenty-one  he  went  to 
Munich.  Six  allegorical  frescos  in  the  arcade  of  the  Hofgarten  were 
among  his  earliest  works  there.  Before  he  was  twenty-five  he  exe- 
cuted "  Apollo  and  the  Muses,"  in  the  Odeon,  and  the  celebrated  design 
called  "  The  Mad-House."  He  next  painted  sixteen  illustrations  of 
the  story  of  "  Cupid  and  Psyche,"  on  the  walls  of  the  palace  of  the 
Duke  Maximilian  ;  then,  together  with  the  painter  Schnorr  and  the 
sculptor  Schwanthaler,  he  worked  at  the  decoration  of  the  new  pal- 
ace of  King  Ludwig.  He  completed,  his  design  for  the  "  Battle  of 
the  Huns"  in  1837  ;  it  was  a  chef-d'oeuvre.  About  the  same  time  he 
completed  the  cartoon  of  the  "  Destruction  of  Jerusalem,"  the  paint- 
ing from  which  was  not  made  until  eight  years  later,  when  King 
Ludwig  purchased  it.    In  1846  his  designs  illustrative  of  "  Reynard 


20       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Fox  "  appeared.  He  also  illustrated  the  Gospels  and  the  Shaks- 
pere  gallery.  Kaulbach  devoted  many  years  to  the  great  decorative 
paintings  of  the  "  Treppenhaus  "  of  the  new  Museum  at  Berlin.  His 
subjects  here  were,  "  The  Tower  of  Babel,"  "  Destruction  of  Jerusa- 
lem," and  "Battle  of  the  Huns"  (reproduced),  colossal  figures  of 
Moses,  Solon,  History,  Legend,  etc.,  and  "  The  Reformation,"  besides 
friezes  which  were  designed  as  borders  for  the  principal  works.  In 
1867  he  sent  to  Paris  his  "Epoch  of  the  Reformation,"  a  cartoon 
of  which,  belonging  to  Mr.  Durfee  of  Fall  River,  was  for  some  time 
in  the  Boston  Athenaeum.  For  this  painting  he  received  a  medal  of 
honor.  Vapereau  says  :  "  It  united  all  his  qualities  of  composition, 
drawing,  and  color."  In  the  National  Gallery  at  Berlin  are  his  car- 
toons of  "  The  Death,  of  the  Marquis  Posa,"  and  one  of  a  scene  from 
the  "  Mary  Stuart "  of  Schiller.  Mr.  Probasco  of  Cincinnati  has  a 
beautiful  work  by  Kaulbach  called  "  Mutterliebe  "  ("  Mother-Love  "). 
It  was  painted  for  Mr.  Probasco,  and  he  claims  that  it  is  the  only 
original  painting  by  Kaulbach  in  America.  It  represents  a  mother 
with  her  four  children.  She  is  seated  beneath  a  tree  in  the  midst  of 
a  pleasing  landscape.  In  her  right  arm  she  holds  one  child,  whose 
face  is  hidden  on  her  breast ;  with  her  left  hand  she  supports  another 
tiny  one,  who  stands  upon  her  knee  and  presses  his  lips  to  hers  in  a 
playful  baby  embrace.  Two  larger  children,  one  upon  the  ground 
and  another  climbing  up  behind  and  resting  on  the  mother's  shoulder, 
complete  the  group,  which  is  well  balanced  and  graceful. 

"  I  have  extolled  Kaulbach  in  no  stinted  terms,  yet  I  know  that  his  mortality  is  be- 
trayed through  his  robes  of  state.  His  limits  are  confessed  when  he  rushes  towards  the 
illimitable  ;  his  finality  is  felt  when,  in  boldest  flight,  he  steals  fire  from  heaven.  Kaul- 
bach has  many  virtues,  but  moderation  is  not  of  their  company.  Nevertheless,  let  me, 
in  fine,  recapitulate  the  claims  which  Kaulbach  lays  upon  the  remembrance  of  posterity. 
His  subjects,  his  styles,  and  his  materials,  which  are  many,  are  alike  worthy  of  note. 
His  themes,  we  have  seen,  are  wide  in  range  and  lofty  in  aspiration.  History  in  epochs 
which  are  landmarks  in  the  world's  civilization  ;  philosophy  that  teaches  through  exam- 
ple ;  poetry  as  manifested  in  the  creations  of  Shakspere  and  Goethe ;  life  in  its  light 
and  shade,  in  the  climax  of  its  joy  and  the  depths  of  its  sorrow,  —  such  are  the  subjects 
which,  in  their  diversity  and  import,  measure  the  genius  and  circumscribe  the  labors  of 
Kaulbach.  In  style,  too,  as  in  subject,  this  painter  displays  the  same  versatility  r  by 
turns  he  is  grave  and  gay.  Like  dramatists  and  actors  of  first  quality,  he  is  great  at 
once  in  comedy  and  in  tragedy  ;  his  impersonations,  in  short,  are  close  upon  the  models 
of  Phidias  and  Raphael,  of  Diirer  and  Hogarth.  The  name  of  Kaulbach  will  also  be 
identified  with  the  most  successful  efforts  to  free  art  from  the  tyranny  of  the  Church,  to 
ennoble  secular  subjects  by  lofty  thought  and  elevated  treatment,  and  to  raise  the  prac- 
tice of  monumental  painting  to  an  equality  with  the  sister  arts  of  sculpture  and  archi- 
tecture. Such  are  the  services  which  Kaulbach  has  conferred  upon  his  age  and  coun- 
try."—  J.  Beavington  Atkinson,  London  Art  Journal,  December,  1865. 

Kaulbach,  Hermann.  (Ger.)  Son  of  the  preceding,  and  a  pupil 
of  Piloty.    He  is  an  historical  painter  who  merits  attention. 

Kaulbach,  F.  A.  (Ger.)  This  painter  is  a  distant  relative  of  the 
late  Wilhelm  von  Kaulbach,  and  is  one  of  the  rising  artists  of  Munich. 
Some  of  his  pictures  are  very  pleasing,  and  show  a  genuine  feeling  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  21 


ideal  art.  At  the  Exposition  of  1878  he  exhibited  "  Reverie,"  "  Por- 
trait of  a  Young  Girl,"  "  Young  Woman  with  her  Son,"  and  a  "  Head 
of  a  Woman." 

Kemeys,  Edward.  (Am.)  Born  in  Savannah,  Ga.  He  lived  for 
some  time  in  New  York.  By  profession  a  sculptor,  he  has  devoted 
himself  particularly  to  the  modeling  of  the  more  prominent  wild 
animals  of  the  far  West  of  America  ;  a  collection  of  groups  in  plaster 
by  him,  which  were  exhibited  in  London  in  1877,  attracted  much  at- 
tention. His  "  Coyote  and  Raven,"  "  Playing  Tossuni,"  and  "  Pan- 
ther and  Deer"  were  at  the  Exhibition  at  Philadelphia  in  1876;  "Fight 
between  Buffaloes  and  Wolves,"  at  the  Paris  Salon  of  1878. 

"In  anatomical  knowledge  Kemeys  appears  to  us  little,  if  at  all,  behind  his  predecessor 
[Barye],  and  if  he  be  Barye's  inferior  in  audacity  and  splendor  of  conception,  he  partly 
compensates  for  this  by  a  subtle  perception  of  delicate  shades  of  character,  and  a  fine 
discrimination  of  animal  individuality,  in  which  Barye's  works  are  comparatively  de- 
ficient." —  London  Spectator,  December,  1877. 

Kensett,  J.  F.,  N.  A.  (Am.)  Born  in  Cheshire,  Ct.  (1818  - 1873). 
As  a  youth  he  studied  bank-note  engraving,  and  practiced  art  in  his 
leisure  hours.  He  finally  went  to  England,  where  he  worked  for  some 
time,  sending  to  the  Royal  Academy,  in  1850,  "  A  Yiew  of  Windsor 
Castle,"  which  was  highly  praised  by  the  London  art  critics.  He  re- 
mained in  Europe  seven  years,  spending  two  years  in  Rome,  making 
excursions  to  Naples,  Switzerland,  the  Rhine,  and  the  Italian  lakes, 
and  sending  home  many  cleverly  executed  paintings  and  sketches, 
some  of  which,  exhibited  in  the  Art  Union  Gallery,  New  York,  estab- 
lished his  reputation  in  America  as  a  landscape-painter  of  no  common 
merit.  His  views  of  American  scenery  have  become  justly  popular. 
Among  them  are,  "  Sunset  on  the  Coast,"  "  Sunset  in  the  Adirondacks," 
"  Lake  George,"  "  Scenes  on  the  Genesee  River,"  "  Noon  on  the  Sea- 
Shore  "  (engraved  by  S.  Y.  Hunt),  "  Beverly  Coast,"  "  Bash  Bish," 
"  From  the  Meadows  at  Cold  Spring,"  "  Narragansett,"  "  Lake  Cone- 
sus"  (belonging  to  Robert  Hoe),  "  Mount  Washington,"  "  Keene  Flats," 
"  Bass  Rock,  Newport,"  etc.  His  "  Morning  off  the  Coast  of  Mas- 
sachusetts "  (belonging  to  Shepherd  Gandy),  "  Newport  Harbor " 
(to  R.  M.  Olyphant),  "  Glimpse  of  the  White  Mountains  "  (to  R.  L. 
Stuart),  were  in  the  Paris  Exposition  of  1867.  His  "  Yiew  near 
Northampton  "  (property  of  R.  L.  Stuart),  "  Lake  George  "  (the  prop- 
erty of  M.  K.  Jessup),  and  his  "  New  Hampshire  Scenery "  (now 
in  the  Century  Club),  were  at  the  Philadelphia  Exhibition  of  1876. 
At  the  Johnston  sale,  in  1876,  his  "  Afternoon  on  the  Connecticut 
Shore  "  sold  for  $  1,500,  and  his  "  Secluded  Brook  "  (belonging  origi- 
nally to  A.  M.  Cozzens)  brought  $  600.  His  "  White  Mountains  " 
(at  the  Wright  sale,  some  years  before)  was  sold  for  $  1,300.  His 
"  October  Afternoon,  Lake  George,"  exhibited  in  Paris  in  1867,  and 
at  the  Sanitary  Fair,  New  York,  in  1864,  at  the  sale  of  the  Olyphant 
pictures  in  1877,  found  a  purchaser  at  $6,300.    His  "White  Moun- 


22       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tains"  was  sent  to  the  Paris  Exposition  of  1878.  Kensett  was  made 
a  member  of  the  National  Academy  in  1849. 

"  Kensett  is  the  Bryant  of  our  painters  ;  a  little  sad  and  monotonous,  but  sweet,  ar- 
tistic, and  unaffected.  In  his  later  pictures  there  is  a  phan torn-like  lightness  and  cold- 
ness of  touch  and  tint  which  gives  them  a  somewhat  unreal  aspect,  but  they  take  all  the 
more  hold  on  the  fancy  for  their  lyrical  qualities. "  —  Jarves,  Art  Idea. 

"  Kensett's  best  pictures  exhibit  a  rare  purity  of  feeling,  an  accuracy  and  delicacy, 

and  especially  a  harmonious  treatment,  perfectly  adapted  to  the  subject  If  we 

desired  to  carry  abroad  genuine  memorials  of  native  scenery,  to  keep  alive  its  impressions 
in  a  foreign  land,  we  should  select  half  a  dozen  of  Kensett's  landscapes.  Other  artists 
may  have  produced  single  pictures  of  more  genius,  may  be  in  certain  instances  supe- 
rior, but  on  the  whole,  for  average  success,  Kensett's  pictures  are,  we  do  not  say  the 
most  brilliant,  effective,  or  original,  but  often  the  most  satisfactory."  —  Tuckerman's 
Booh  of  the  Artists. 

Key,  John  R.  (Am.)  Native  of  Baltimore.  He  studied  art  in 
Munich  and  Paris,  painting  in  Boston  for  some  years,  and  exhibiting 
there,  in  1877,  about  one  hundred  of  his  pictures,  including  "  Marble- 
head  Beach,"  "  Ochre  Point,  Newport,"  "  Morning  Stroll,"  and  a  view 
of  "  The  Golden  Gate,  San  Francisco,"  for  which  he  received  a  medal 
at  the  Philadelphia  Exhibition  of  1876.  His  "Cloudy  Morning, 
Mount  Lafayette  "  was  at  the  National  Academy,  New  York,  in  1878. 
He  has  been  very  successful  in  his  works  in  black  and  white. 

"  Mr.  Key's  charcoal  drawings  are  among  the.  best  ever  shown  in  Boston  ;  they  are  firm 
and  masterly  in  drawing,  strong  in  effect,  and  graceful  in  composition.  Mr.  Key  has  a 
fascinating  skill  in  this  kind  of  work,  in  which  he  approaches  nearer  to  Allong6  than  any 
other  American  artist.  The  collection  of  his  pictures  is  highly  attractive  for  the  true 
artistic  feeling  in  all  the  works  on  exhibition."  —  Bos  ton  Saturday  Gazette,  1877. 

Keymeulen,  Emile.  (Belgian.)  Of  Brussels.  Medal  at  Philadel- 
phia, where  he  exhibited  "  Landscape  in  Provence  "  and  "  After  the 
Hurricane." 

Keyser,  Nicaise  de.  (Belgian.)  Born  at  Santoliet,  1813.  Presi- 
dent of  the  Academy  of  Antwerp,  and  Chief  Director  of  the  Museum 
of  that  city.  Corresponding  member  of  the  Institute  of  France,  and 
Officer  of  the  Legion  of  Honor.  Chevalier  of  the  Order  of  Leopold, 
and  that  of  the  Lion  of  the  Netherlands.  Medal  at  Philadelphia. 
Pupil  of  the  Antwerp  Academy  under  the  direction  of  Van  Bree.  In 
1834  he  exhibited  "  A  Crucifixion,"  which  had  been  painted  for  a 
Roman  Catholic  church  in  Manchester,  England  ;  it  attracted  con- 
siderable attention.  He  went  soon  after  to  France  and  England,  and 
returned  through  Holland.  In  1836  his  picture  of  "  The  Battle  of  the 
Golden  Spurs  in  1302  "  was  exhibited  at  Brussels,  and  won  the  great 
gold  medal ;  this  work  is  now  in  the  Museum  of  Courtrai.  In  1839 
he  exhibited  the  "  Battle  of  Woeringen,"  which  took  a  gold  medal  in 
Paris.  De  Keyser  then  visited  Italy  and  Germany.  The  "  Battle  of 
Nieuport "  and  that  of  "  Seneffe  "  were  painted  for  William  II.  of 
Holland.  Among  his  other  works  are,  "  Vandyck  setting  out  for 
Italy,"  "  Memling  in  the  Hospital  at  Bruges,"  "  Christ  and  his  Dis- 
ciples," "  The  Last  Moments  of  Weber,"  etc.    His  portraits  of  royal 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


23 


and  distinguished  persons  are  numerous.  The  courts  of  Belgium, 
Sweden,  Bavaria,  and  Wiirtemberg  have  conferred  decorations  upon 
him,  as  well  as  that  of  France.  (The  list  of  honors  given  in  this  article 
is  taken  from  the  London  Art  Journal,  of  January,  1866.)  At  the 
Wolfe  sale  in  New  York  in  1864,  "  The  Love-Test,  —  Italian  Gleaners  " 
sold  for  $  3,100,  and  "  Milton  and  his  Daughters  "  for  $  2,400.  At 
the  Berlin  National  Gallery  are  his  "  Giaour  "  and  "  Death  of  Marie, 
de'  Medici."  Mr.  Probasco  of  Cincinnati  has  his  "Francis  I.  at 
Fontainebleau,"  painted  in  1869. 

Keyser,  E.  (Am.)  Born  in  Baltimore,  1850.  He  received  his  art 
education  in  the  Royal  Art  Academy  of  Munich,  under  Professor 
Widmann,  and  in  the  Royal  Art  Academy  of  Berlin  under  Professor 
Albert  Wolff.  He  went  to  Munich  in  1872,  remaining  until  the 
autumn  of  1876.  In  Berlin  he  received  "  the  Michael  Beerche  Prize" 
for  a  life-sized  figure,  called  "  Psyche."  This  prize  entitles  the  suc- 
cessful competitor  to  one  year's  study  in  Rome  at  government  expense. 
Among  his  most  successful  works  are  the  "  Psyche,"  and  "  The  Toy- 
ing Page  "  (in  bronze),  belonging  to  Dr.  O'Donavan  of  Baltimore,  for 
which  he  gained  the  silver  medal  of  the  Munich  Academy. 

Kiers,  Peter.  (Dutch.)  Born  at  Graeneveld,  1807.  Member  of 
the  Academy  of  Amsterdam.  Pupil  of  Douwe  de  Hoop.  A  genre 
painter.  He  was  specially  noted  for  his  effects  of  light.  Among  his 
subjects  are,  "A  Woman  going  out  of  her  House  at  Evening  "  (effect 
of  lanterns),  "  Woman  reading  the  Bible,"  "  Woman  writing  a  Let- 
ter," "  Interior  of  a  Dutch  House,"  etc. 

King,  Charles  B.  (Am.)  (1786-1862.)  Studied  with  Leslie 
and  Allston  in  London,  living  and  painting  portraits  in  that  city  for 
some  years.  Finally  settled  in  Washington,  D.  C,  where  he  died. 
During  his  long  career  many  of  the  celebrities  of  all  countries  who 
visited  the  capital  were  among  his  sitters.  His  portraits  were  prized 
for  their  accuracy  rather  than  their  delicacy  of  finish. 

Kiorboe,  Charles  Frederic.  (Swede.)  Born  at  Stockholm  (1815 
-1876).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Henner.  In 
1874  he  exhibited  at  the  Paris  Salon,  "A Fox  surprised  by  Hunters " 
and  "A  Buck  coming  out  of  a  Wood"  ;  in  1870,  "The  Breakfast  of 
the  Foxes  "  ;  in  1869,  "  Hunting  Ducks."  At  a  London  sale  in  1874 
his  "  Inundation  "  sold  for  260  guineas. 

Kiss,  Augustus.  (Prussian.)  Born  at  Pless  (1802- 1865).  Member 
of  the  Berlin  Academy,  where  he  was  also  Professor.  Studied  at  the 
same  Academy  under  Rauch.  In  1839  he  exhibited  the  model  of  his 
famous  group  of  "The  Amazon  struggling  with  a  Panther."  This 
was  cast  in  bronze  by  means  of  public  subscriptions,  which  were  even 
taken  in  the  churches,  so  great  was  the  enthusiasm  it  excited.  It  was 
placed  in  the  Berlin  Museum  in  1845.  A  plaster  cast  of  it  took  the 
first  prize  at  London  in  1851,  and  was  purchased  by  an  American. 
Among  his  works  are,  "The  Fox-Hunt"  (Berlin  Museum),  "St. 


24       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Michael  and  the  Dragon,"  statues  of  Frederick  the  Great  and  Fred- 
erick William  III.,  "  St.  George,"  etc.  At  the  time  of  his  death  a 
group  called  "  Faith,  Hope,  and  Charity  "  was  unfinished  ;  this  was 
completed  by  Blaser,  and,  with  a  bust  of  Kiss,  was  presented  by  his 
widow  to  the  Berlin  Museum. 

Klein,  Johann  Adam.  (Ger.)  Born  at  Nuremberg  (1792  -  1875). 
This  artist  first  studied  etching  and  engraving.  He  spent  some  time 
at  the  Academy  of  Vienna,  and  commenced  oil-painting  in  1815. 
Soon  after  this  he  went  to  Rome.  He  gave  his  efforts  to  reproducing 
the  peculiar  costumes  and  habits  of  different  peoples.  He  had  trav- 
eled in  Northern  countries,  and  his  industry  and  diligent  observation 
made  him  skillful  in  his  peculiar  work.  At  the  National  Gallery, 
Berlin,  are  his  "  Hungarian  Wagoners "  and  "  The  Wallachian 
Freight- Wagon  "  ;  also,  "  An  Animal-Tamer  before  a  Tyrolese  Inn." 
Klein's  engravings  are  numerous  and  highly  esteemed. 

Kloeber,  August  Karl  Friedrich  von.  (Ger.)  Born  at  Breslau 
(1793-1864).  Professor  and  member  of  the  Berlin  Academy.  Pu- 
pil of  Berlin  Academy.  During  the  war  of  1813  Kloeber  was  a  sol- 
dier, and  afterwards  spent  nearly  four  years  at  Vienna.  He  affected 
the  manner  of  Rubens  and  Correggio.  His  portraits  of  Beethoven, 
Grillparzer,  etc.,  are  well  spoken  of.  His  first  large  picture  was  that 
of  the  "Virgin  Mary  with  Jesus  and  St.  John."  At  the  theater  of 
Breslau  he  painted  a  frieze  and  other  decorative  works.  In  1821  he 
went  to  Italy,  and  spent  seven  years  in  Rome.  Kloeber  executed  va- 
rious decorative  paintings  in  the  palaces  and  public  buildings  of  Ber- 
lin. Several  of  his  pictures  are  in  the  National  Gallery,  Berlin,  — 
"  Education  of  Bacchus,"  "  Cupid  and  Psyche,"  etc. 

Knaus,  Ludwig.  (Ger.)  Born  at  Wiesbaden,  1829.  Member  of 
the  Academies  of  Berlin,  Vienna,  Munich,  Amsterdam,  Antwerp,  and 
Christiana.  Officer  of  the  Legion  of  Honor.  Knight  of  the  Order 
of  Merit.  Various  medals  at  Paris,  Berlin,  Weimar,  etc.  Pupil  of 
Jacobi  and  the  Academy  of  Diisseldorf,  under  Sohn  and  Schadow. 
He  separated  himself  from  their  influence,  and  was  allied  with  Les- 
sing,  Leutze,  and  Webber.  From  1853  he  lived  eight  years  in  Paris, 
but  settled  at  Diisseldorf  in  1866.  Among  his  works  are,  "  The  Prom- 
enade" (1855),  at  the  Luxembourg,  "  Peasants  reprimanded  by  their 
Priest,"  "  A  Woman  playing  with  Two  Cats,"  "  The  Wife  of  a  Shoe- 
maker, her  Child,  and  an  Apprentice  contemplating  a  Mouse  in  a 
Trap,"  "  The  Invalid,"  "  A  Woman  gathering  Flowers,"  etc.  At  the 
Johnston  sale,  New  York,  1876,  "  The  Old  Beau,"  from  the  Wolfe 
sale  in  1863  (24  by  19),  sold  for  $  3,000.  In  1874,  at  Christie's  in 
London,  "  Thieves  at  a  Fair  "  sold  for  565  guineas.  At  the  Forbes 
sale,  London,  1874,  "The  Sisters"  sold  for  1,250  guineas.  At  the 
Sedelmeyer  sale  in  Vienna,  1873,  "Maternal  Kindness"  brought 
£  1,440.  His  "  Children's  Festival  "  is  at  the  National  Gallery,  Berlin. 
At  the  Latham  sale,  New  York,  1878,  "  My  Little  Brother  "  (18  by  14) 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


25 


sold  for  $  2,200,  and  "After  the  Bath  "  (8£  by  6|),  for  $  2,350.  His 
"  Priest  and  Poacher  "  belongs  to  Mr.  T.  R.  Butler  of  New  York. 

Knight,  John  Prescott,  R.  A.  (Brit.)  Born,  1803.  He  was  the 
son  of  Edward  Knight,  a  well-known  actor,  and  began  life  in  a  mer- 
chant's office  in  London.  Displaying  a  decided  taste  for  art,  he 
studied  under  Henry  Sass,  and  later  under  George  Clint,  entering 
the  schools  of  the  Royal  Academy  in  1823.  His  first  pictures  were 
at  the  British  Institute  in  1827  or  '28.  He  turned  his  attention  to 
portrait-painting,  in  which  branch  of  art  he  has  been  very  success- 
ful. He  was  made  an  Associate  of  the  Royal  Academy  in  1836, 
Academician  in  1844.  He  was  Professor  of  Perspective  for  many 
years,  and  Secretary  of  the  Royal  Academy  from  1847  to  '73,  when 
he  resigned  with  a  life  pension  from  the  trustees.  Among  the  many 
portraits  of  distinguished  men  painted  by  Mr.  Knight  may  be  men- 
tioned those  of  the  Duke  of  Cambridge  (in  Christ's  Hospital),  F.  C. 
Burnand,  Henry  L.  Holland,  the  Governor  of  the  Bank  of  England, 
^douard  Frere,  Arthur  Grote,  and  Sir  Titus  Salt.    [Died,  1881.] 

Knight,  Daniel  Ridgway.  (Am.)  Born  at  Philadelphia.  In 
1872  he  went  abroad,  studying  for  some  years  in  Paris  at  l'^lcole  des 
Beaux- Arts  and  under  Gleyre.  He  was  hi  the  studio  of  Meissonier 
in  1876.  To  the  Paris  Salon,  in  1873,  he  sent  "  The  Fugitives  "  ;  in 
1875,  "  Washerwomen "  ;  in  1876,  "  Repast  during  the  Harvest." 
He  has  exhibited  frequently  at  the  National  Academy,  New  York,  con- 
tributing, in  1870,  "The  Veteran"  (belonging 4o  Asa  Whitney)  ;  in 
1871,  "  Othello  in  the  House  of  Brabantio  "  ;  in  1873,  "  The  Anti- 
quary," "  The  Old  Beau,"  and  "  Dividing  the  Profits  "  ;  in  1874, 
"Strolling  in  the  Garden";  in  1876,  "  Washerwomen  "  ;  in  1877, 
"  Market- Place  at  Poissy  "  and  "  Harvest  Scene"  (belonging  to  A.  J. 
•Drexel)  ;  in  1878,  "  Pot  au  Feu." 

"In  'The  French  Washerwomen,'  by  D.  R.  Knight,  the  figures  are  drawn  with  re- 
markable spirit,  and  in  their  delineation  much  grace  of  form  is  shown.  It  is  without 
that  artificial  feeling  which  belongs  to  work  where  the  conventional  model  is  called  into 
requisition."  —  Art  Journal,  May,  1876. 

Knille,  Otto.  (Ger.)  Born  at  Osnabriick,  1832.  Medal  at  Berlin. 
An  instructor  there,  with  title  of  Professor.  Pupil  at  Dusseldorf 
under  K.  Sohn,  Th.  Hildebrandt,  and  W.  von  Schadow.  Also  studied 
under  Couture  at  Paris.  He  spent  some  time  in  Munich  and  Italy, 
and  settled  in  Berlin  in  1865.  Some  of  his  decorative  paintings  (the 
subjects  taken  from  the  Thuringian  Myths)  are  in  the  Castle  of 
Marienburg  near  Nordstemmen.  Others  are  over  the  stairway  of  the 
University  Library  at  Berlin.  In  the  National  Gallery  at  Berlin  is 
his  "  Tannhauser  and  Venus."  At  Berlin,  in  1876,  he  exhibited 
"Athens,  —  Plato  with  his  Pupils,"  a  portion  of  a  frieze  for  the 
Library  of  the  University  of  Berlin.  This  was  also  seen  at  the  Paris 
Exposition  of  1878. 

Knowlton,  Helen  M.    (Am.)    Born  at  Worcester,  Mass.  She 

VOL.  II.  2 


26       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


has  spent  her  professional  life  in  Boston,  where  she  has  classes  in 
painting.  She  was  a  pupil  of  William  M.  Hunt,  and  that  artist's 
well-known  "  Talks  about  Art "  are  the  result  of  notes  taken  by 
Miss  Knowlton  during  his  lessons.  She  sketches  in  charcoal,  and 
paints  landscapes  and  portraits  in  oil,  exhibiting  at  the  Boston  Art 
Club,  National  Academy,  and  elsewhere. 

Knyff,  Alfred  de.  {Belgian.)  Born  at  Brussels.  Chevalier  of 
the  Legion  of  Honor.  Landscape-painter.  His  pictures  represent  all 
kinds  of  scenery,  and  he  passes  easily  and  gracefully  from  the  beach 
to  the  forest,  from  the  banks  of  the  Meuse  to  the  mountains  of  Scot- 
land. At  Paris  in  April,  1876,  several  of  his  pictures  were  sold. 
"  Setting  Sun  in  the  Campine  "  brought  4,000  francs  ;  "  Moonlight," 
2,600  francs  ;  etc.  Among  his  subjects  are,  "  The  Scottish  Heather," 
"  The  Evening,"  "  Forest  of  Fontainebleau,"  "  Villiers  -sur-Mer."  At 
the  Paris  Salon  of  1877  he  exhibited  "  The  Forest  of  Stolen  in  the 
Campine,  Belgium"  and  "  The  Prairies  of  Lagrange"  ;  in  1876,  "  The 
Garden  of  A.  Stevens,"  "  The  Mouth  of  the  Meuse,"  and  "  A  Marsh 
in  the  Campine  in  Spring." 

Koch,  Joseph  Anton.  (Ger.)  Born  at  Obergiebeln  am  Bach 
(1768-1839).  The  works  of  this  landscape-painter  are  seen  in  va- 
rious German  galleries.  At  the  Museum  at  Leipsic  are  three  of  his 
pictures,  and  in  the  National  Gallery,  Berlin,  is  "  A  View  of  the 
Convent  of  Civitella,  in  the  Sabine  Mountains." 

Koekkoek,  Bernard  Cornelius.  (Dutch.)  Born  at  Middlebourg 
(1803-1862).  Chevalier  of  the  Order  of  the  Lion  (Netherlands), 
and  of  the  Order  of  Leopold  (Belgium).  Medals  at  Paris,  Amster- 
dam, and  the  Hague.  Pupil  of  Schelfhout  and  Van  Os.  The  land- 
scapes of  this  painter  are  much  esteemed.  He  established  a  Drawing 
Academy  at  Cleves.  In  1850  he  published  at  Amsterdam  a  book  of  ■ 
his  "  Souvenirs  and  Communications  "  ("  Erinnerungen  und  Mitthei- 
lungen  eines  Landschaftmalers  ").  At  the  Johnston  sale,  New  York, 
1876,  his  "  Scenery  on  the  Upper  Rhine  "  (32  by  42)  sold  for  $  2,800. 
It  was  from  the  Wolfe  sale  in  1863.  A  "  Winter  Scene  in  Holland," 
also  from  the  Wolfe  sale  (20  by  26),  sold  for  $  1,550.  At  a  sale  in 
London  in  1876,  "A  Forest  Scene"  sold  for  £ 283.  At  the  Strous- 
berg  sale,  Paris,  1874,  "Interior  of  a  Wood"  sold  for  £1,084.  At 
the  Latham  sale,  New  York,  1878,  "  Landscape  with  Cattle  "  (26  by 
33)  sold  for  $  1,600.  In  the  National  Gallery,  Berlin,  are  two  of  his 
landscapes,  and  two  others  are  in  the  Leipsic  Museum.  Koekkoek 
was  also  a  member  of  the  Academies  of  Rotterdam  and  St.  Petersburg, 
and  of  the  Society  of  Arts,  London.  His  "Castle  on  the  Rhine" 
and  "  Landscape  in  Winter  "  belong  to  Mr.  T.  R.  Butler  of  New  York. 

Koerner,  Ernst.  (Ger.)  Of  Berlin.  Pupil  of  Eschke  and  Stef- 
feck.  Medal  at  Philadelphia,  where  he  exhibited  "  Mahmoudieh  Canal 
near  Alexandria."  This  was  "  commended  for  distinguished  excel- 
lence." At  the  Paris  Salon  of  1878  he  exhibited The  Mahmoudieh 
Canal,  Egypt  "  and  "  Under  the  Palm- Trees." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  27 


Kohler,  Christian.  (Ger.)  Born  in  Werben  (1809  -  1861).  Pro- 
fessor at  Diisseldorf.  Studied  at  Berlin  Academy  and  at  Diisseldorf. 
In  1860  he  went  to  Montpellier  for  his  health,  but  received  no  benefit. 
In  the  Berlin  National  Gallery  is  his  "  Semiramis." 

Koller,  Guillaume.  (Aus.)  Born  at  Vienna,  1829.  Followed 
the  course  at  the  Academy  of  Fine  Arts  in  Vienna,  and  then  studied  at 
Diisseldorf  from  1851  to  '55.  "  The  Emigrants,"  "  The  Asylum,"  and 
"  Scene  from  the  Peasants'  War,  1524  "  were  painted  while  he  was  at 
Diisseldorf,  and  found  their  way  into  the  best  collections  in  Vienna. 
Next  Koller  resided  three  years  in  Antwerp.  He  first  exhibited  in 
that  city  "  The  Clandestine  Marriage  of  the  Archduke  Ferdinand 
with  Philippine  Welser  at  the  Chateau  de  Meran,  in  the  Tyrol "  ;  it 
was  purchased  by  Mr.  Nieuwenhuys.  Koller  draws  his  inspirations 
from  the  literature  and  history  of  Germany,  and  as  he  spends  much 
time  on  his  works  they  are  not  numerous  ;  among  them  are,  "  The 
Christening  of  Martin  Luther,"  purchased  by  M.  Drasche  of  Vienna  ; 
"  The  First  Interview  of  Marguerite  and  Faust,"  purchased  by  the 
Chevalier  de  Knyff  of  Antwerp  ;  "  Albert  Diirer  receiving  a  Message 
from  the  Archduchess  of  Parma,"  purchased  by  the  late  Prince  Albert 
of  England  ;  "  The  Coal- Market "  ;  "  Philippine  Welser  demanding 
Pardon  for  her  Husband  from  his  Father,  the  Emperor  Ferdinand  "  ; 
"  The  Departure  for  the  War  "  ;  "  Almsgiving  "  ;  etc. 

"  In  manner  of  treatment  he  has  grafted  upon  the  comparatively  dry  style  of  the  Ger- 
man school,  acquired  in  Diisseldorf,  the  richer  and  more  realistic  style  of  the  modem 
Belgian.  His  coloring  is  always  good,  but  he  does  not  strive  to  produce  an  impression 
by  this  quality  so  much  as  by  a  faithful  rendering  of  his  subject.  In  this  his  sympa- 
thies are  more  with  Leys  and  his  disciples  than  they  are  with  Gallait,  Wappers,  and 
De  Keyser.  In  his  choice  of  subjects  he  aims  high,  but  certainly  not  beyond  his  powers. 
And  as  he  is  still  in  the  early  prime  of  life,  a  long  and  prosperous  career  may  be  his 
future,  which  shall  yield  more  abundant  and  riper  fruit  than  any  he  has  yet  produced. " 
—  James  Dafforne,  London  Art  Journal,  January,  1867. 

Kollock,  Mary.  {Am.)  Born  in  Norfolk,  Va.,  1840.  Studied 
art  in  Philadelphia  for  three  years  under  Eobert  Wylie,  in  the  Penn- 
sylvania Academy  of  Fine  Arts.  Later  she  took  lessons  in  landscape 
from  J.  B.  Bristol  and  A.  H.  Wyant.  The  greater  part  of  her  profes- 
sional life  has  been  spent  in  the  city  of  New  York,  contributing  to  the 
National  Academy  of  Design  scenes  from  the  Adirondack  regions 
and  Lake  George.  In  1877  she  sent  "  Morning  in  the  Mountains  "  and 
"On  the  Road  to  Mt.  Marcy  "  ;  in  1878,  "A  November  Day  "and 
"  An  Evening  Walk."  Her  "  Midsummer  in  the  Mountains  "  was 
at  Philadelphia  in  1876. 

Korzoochin,  Alexis.  (Russian.)  Of  St.  Petersburg.  At  Philadel- 
phia he  exhibited  pictures  of  "A  Sunday  Tea-Party"  and  "A  Scene 
in  the  Wood,"  and  received  a  medal. 

Kotzebue,  Alexander  von.  (Russian.)  Medal  at  Paris  in  1867. 
Medal  at  St.  Petersburg.  This  artist  was  a  soldier  in  his  youth, 
and  understands  what  he  paints.    His  "  Passage  of  the  Devil's  Bridge 


28       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


by  the  Russian  Army  in  1799"  is  a  well-known  picture.  He  has 
lived  for  some  time  in  Munich,  and  has  traveled  in  various  countries 
of  Europe.  His  pictures  in  the  galleries  of  Russia  are  much  liked. 
At  St.  Petersburg,  in  1870,  he  exhibited  "  The  Battle  at  Lessnoje  " 
and  "  The  Surrender  of  Riga  in  1710." 

Krause,  Wilhehn  August  Leopold  Christian.  (Ger.)  Born  at 
Dessau  (1803  -  1864).  Member  of  the  Academy,  and  Royal  Professor 
at  Berlin.  Founder  of  the  School  of  Marine  Painting  at  Berlin. 
Studied  at  Berlin  and  Dresden.  He  was  very  poor,  and  did  many 
things  to  earn  money  ;  among  others,  he  sang  in  a  theater  in  Berlin. 
In  1828,  never  having  seen  the  sea,  he  painted  his  first  marine  picture. 
He  showed  great  talent  in  this  specialty.  In  1830  and  '31  he  traveled 
in  Northern  Europe.  At  the  National  Gallery,  Berlin,  are,  "  A  Storm 
at  Sea,"  "  View  on  the  Coast  of  Pomerania,"  and  "  Scottish  Coast 
Scene  in  a  Storm." 

Kroner,  Christian  Johann.  (Ger.)  Born  at  Rinteln,  in  Hesse, 
1838.  Medal  at  Berlin  in  1876.  Pupil  of  nature,  and  an  artist  who, 
by  earnest  study,  brought  himself  to  a  reputable  standing  in  land- 
scape-painting. Many  of  his  pictures  are  of  wild,  mountainous  scenes. 
At  Diisseldorf  he  came  under  the  influence  of  L.  H.  Becker,  who  en- 
couraged him  to  persevere  in  his  art.  His  pictures  are  well  consid- 
ered. He  has  traveled  considerably,  and  visited  various  parts  of  Ger- 
many, the  North  Sea,  Paris,  etc.  He  has  made  wood-engravings  and 
etchings.  Some  of  these  represent  animals  as  well  as  landscapes.  At 
the  National  Gallery,  Berlin,  is  an  "  Autumn  Landscape,  with  Deer." 

Kriiger,  Franz.  (Ger.)  Born  at  Radegast  (1797  -  1857).  Court 
painter.  Professor  and  member  of  the  Berlin  Academy.  Without 
masters,  he  became  a  good  portrait-painter,  and  established  himself 
at  Berlin.  In  1844  he  was  invited  to  visit  Russia  by  the  Emperor, 
and  remained  there  six  years.  He  was  called  "  Pferde-Kriiger  "  from 
his  good  painting  of  horses.  He  painted  many  equestrian  portraits  ; 
and  his  parade  scenes  and  other  military  pictures  are  excellent.  At 
the  National  Gallery  of  Berlin  are  his  "  Departure  for  the  Hunt " 
and  "Return  from  the  Hunt,"  "Emperor  Nicholas  of  Russia,"  and  a 
"Dead  Rabbit." 

Kriiger,  Karl  Max.  (Ger.)  Born  at  Lubbenau  (1834-1880). 
Studied  at  Munich  Academy,  and  under  Ott  and  R.  Zimmermann ;  also 
at  the  Art  School  of  Weimar.  Traveled  in  Germany  and  in  Northern 
Italy.  Since  1870  he  has  lived  in  Dresden.  At  the  National  Gallery 
at  Berlin  is  a  view  of  "  A  Forest  on  the  Spree."  At  Berlin,  in  1876, 
he  exhibited  "  A  Hunting-Lodge  in  the  Neighborhood  of  Lubbenau." 

Kiihling,  Wilhelm.  (Ger.)  Born  at  Berlin,  1823.  Studied  at 
the  Berlin  Academy,  and  traveled  in  Switzerland,  France,  and  Italy. 
At  first  he  was  very  successful  in  portraits.  Later,  he  has  painted 
landscapes,  many  of  which  are  taken  from  Upper  Bavarian  scenery. 
At  the  National  Gallery,  Berlin,  is  his  "  Group  of  Cattle."  At  Berlin, 
in  1876,  he  exhibited  four  cattle-pictures. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  29 


Kuntz,  Gustav  Adolf.  (Ger.)  Born  at  Wildenfels,  1843.  Medal 
at  Philadelphia.  Pupil  of  Schilling  at  Dresden.  In  1869  he  went 
to  Italy  for  two  years,  and  there  executed  a  life-size  marble  statue  of 
the  prophet  Daniel  for  the  mausoleum  of  the  late  Prince  Consort  at 
Frogmore.  He  then  visited  W eimar,  England,  France,  Holland,  and 
Belgium,  and  studied  painting.  In  1877  he  settled  in  Rome.  At  the 
National  Berlin  Gallery  is  his  "  Italian  Pilgrim.''  He  sent  to  Phila- 
delphia "  The  Nun's  Revery." 

Kuntze,  Edward  J.f  A.  N.  A.  (Ger.-Am.)  Born  in  Pomerania 
(1826  -  1870).  Settled  in  America  in  1844,  devoting  himself  to  the 
practice  of  his  art  with  some  success.  He  was  elected  an  Associate  of 
the  National  Academy  in  1869,  a  year  before  his  death.  Among  his 
works  may  be  mentioned,  statuettes  of  Shakspere  and  Lincoln  ;  a 
statue  of  "  Psyche  "  ;  bust  of  "  Mirth,"  in  marble  ;  "  Merlin  and 
Vivien,"  in  bas-relief  ;  and  many  medallion  portraits  and  busts. 

Kurzbauer,  E.  (Austrian.)  Born  at  Vienna,  1840.  Pupil  of 
Piloty.  We  have  not  been  able  to  obtain  a  sketch  of  this  artist's  life, 
but  he  is  well  considered,  and  sent  to  the  Paris  Exposition  of  1878 
"The  Fugitives"  (belonging  to  the  Emperor  of  Austria)  and  "La 
maison  mortuaire  "  (belonging  to  M.  Eggers  of  Vienna.)  [Died,  1879.] 

Kuwasseg,  Carl-Joseph.  (Austrian.)  Born  at  Trieste.  Natural- 
ized Frenchman.  Died,  187C.  Medals  at  Paris  in  1845,  '61,  and 
'63.  He  commenced  life  as  a  carpenter,  but,  abandoning  this  occu- 
pation, he  went  to  Vienna,  an;.  lived  by  making  water-color  drawings. 
He  traveled  in  South  America,  and  went  to  Paris  in  1830,  and  there 
soon  earned  a  good  reputation  as  a  landscape-painter.  Of  late  yea^s 
he  has  principally  exhibited  Swiss  and  French  views. 

Kuyck,  Louis  Van.  (Belgian.)  Born  at  Antwerp  (1821  - 1874). 
Gold  medal  at  Brussels.  Pupil  at  the  Antwerp  Academy  under  Van 
Bree,  and  of  Baron  Wappers.  The  familiar  scenes  which  he  first 
painted  are  almost  unknown.  His  first  "  Interior  of  a  Stable  "  is  in 
the  Museum  at  Munich  ;  it  is  by  subjects  of  this  class  that  he  has 
earned  his  high  European  reputation.  The  names  of  his  different  pic- 
tures are  so  much  alike  that  a  list  is  quite  useless.  They  are  rural 
Flemish  scenes,  most  frequently  stable  interiors,  with  horses,  dogs, 
poultry,  pigeons,  etc. 

Lacroix,  Gaspard  Jean.  (Fr.)  Born  at  Turin  (1820-1878). 
His  parents  were  French,  and  his  professional  life  was  spent  in  France. 
He  received  a  medal  of  the  third  class  in  1842,  and  medals  of  the  second 
class  in  1843  and  '48.  He  was  a  pupil  of  Corot,  and  proved  to  be  one 
of  his  most  worthy  followers.  To  the  Salon  in  1878  he  sent  a  land- 
scape ;  in  1877,  "  Aux  Glaises,  pres  de  Palaiseau"  ;  in  1876,  "At  Pa- 
laiseau  "  ;  in  1873,  two  views  in  the  park  of  the  Gigoux,  both  belonging 
to  M.  Bonnel.    One  of  his  landscapes  was  at  the  Exposition  of  1878. 

La  Farge,  John,  N.  A.  (Am.)  Figure,  flower,  and  landscape 
painter,  drawing  also  on  wood.    He  has  occupied  a  studio  in  New 


30       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


York  for  some  years.  He  was  elected  a  member  of  the  National 
Academy  in  1869.  Is  a  member  of  the  American  Water-Color  So- 
ciety and  of  the  Society  of  American  Artists.  Among  his  works,  in 
oil,  are,  "  View  over  Newport,"  "  Sleeping  Beauty,"  "  A  Gray  Day," 
"  A  Snowy  Day,"  "  A  Seaside  Study  "  (belonging  to  J.  F.  Kensett), 
"  A  Hillside  Study,"  "  From  the  Story  of  Cupid  and  Psyche,"  "  New 
England  Pasture-Land,"  "  A  Bather,"  and  others,  exhibited  at  the 
National  Academy  in  different  seasons.  To  the  first  Exhibition  of 
the  Society  of  American  Artists,  in  1878,  he  sent  "  Autumn  Sunset," 
a  Wild  Eoses,"  and  "  Hollyhocks."  "  Bishop  Berkeley's  Rock,  New- 
port," "  Wreath  of  Flowers,"  etc.,  were  at  the  Philadelphia  Exhi- 
bition of  1876.  To  Paris,  in  1878,  he  sent  "  Paradise  Valley,  New- 
port." He  executed  the  frescos  in  Trinity  Church,  Boston.  Miss 
Alice  Hooper  owns  La  Farge's  "  New  England  Pasture-Land,"  one 
of  his  finest  works.  At  Boston,  in  November,  1878,  he  exhibited  and 
successfully  sold  a  large  number  of  his  pictures. 

"  La  Farge  goes  to  art  with  earnest  devotion,  and  an  ambition  for  its  highest  walks, 
bringing  to  the  American  school  depth  of  feeling,  subtlety  of  perception,  and  a  magnifi- 
cent tone  of  coloring,  united  to  a  fervent  imagination,  which  bestows  upon  the  humblest 
object  a  portion  of  his  inmost  life  His  landscapes  are  gems  of  imaginative,  sugges- 
tive, and  delicate,  vital  treatment,  not  pantheistic  in  sentiment,  although  the  soul  of  na- 
ture breathes  in  them."  —  Jabves,  Art  Idea. 

' '  Mr.  La  Farge  sent  five  pictures,  two  of  figures  and  three  of  flowers.  The  latter  are 
works  of  peculiar  excellence  for  their  purity  and  charm  of  color,  —  flowers  forming  but 
the  theme  for  a  most  delicate  and  refined  harmony  that  addresses  the  eye  with  occult 
power.  Mr.  La  Farge  is  learned  in  his  art,  working  for  profound  and  subtle  results,  and  no 
one  is  more  sensitive  to  the  value  of  mystery  in  tone  and  color,  and  of  the  emission  of 
luminous  light  through  these  qualities.  His  picture  of  '  St.  Paul  at  Athens '  is  stamped 
with  great  sincerity  of  aim,  and  bears  unmistakable  evidence  of  power  and  thought.  His 
works,  however,  for  the  most  part  give  an  impression  of  incompleteness,  or  suggest  a 
deficiency  of  form,  and  the  drawing,  as  of  the  hands  of  this  picture  of  St.  Paul,  is  often 
defective.  But  these  shortcomings  are  more  than  compensated  by  the  superior  aim 
which  characterizes  his  work,  and  renders  it  highly  intellectual,  spiritual,  and  poetical  in 
feeling." —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

"All  Mr.  La  Farge's  pictures  are  apt  to  have  that  element  commonly  called  'sugges- 
tiveness,'  —  that  sense  of  progressive  fluency,  rather  than  of  either  loose  tremulousness 
or  fixed  stability,  which  once  led  a  clever  critic  to  remark  of  them  that  it  was  always  the 
next  picture  Mr.  La  Farge  would  paint  that  was  the  masterpiece.  But  his  sketches  — 
or  the  pictures  he  catalogues  '  sketches  '  —  have  it  eminently,  and  in  them  it  is  espe- 
cially pleasing.  Somehow  one  learns  in  time  that  even  in  his  sketches  there  is  no  lack 
of  completeness  of  motive,  and  that  if  it  does  not  seem  completely  expressed,  that  may 
not  be  so  much  the  fault  of  the  painter  as  of  the  observer,  if  the  latter  has  been  accus- 
tomed to  the  stock  notion  that  completeness  of  expression  means  a  hunting  of  the  mo- 
tive to  its  fastnesses."  —  New  York  World,  November  3,  1878. 

Laguillermie,  August  Frederic.  (Fr.)  Born  at  Paris.  Prix  de 
Rome,  1866.  Pupil  of  Flameng  and  Bouguereau.  He  has  also  studied 
in  Madrid,  Rome,  and  Athens.  His  drawings  from  the  frescos  of 
Michael  Angelo  in  the  Sistine  Chapel  and  from  the  Temple  of 
Erechtheus  at  Athens  are  important.  He  has  made  some  powerful 
plates  after  the  works  of  Velasquez.    More  recently  Laguillermie  has 


ARTISTS  OF  THE  NINETEENTH  CENTURY-  31 


sent  some  pictures  to  the  Salons.  In  1876  he  exhibited  a  "  Portrait 
of  Mme.  B."  and  two  etchings,  "  Ruth  and  Boaz  "  and  "  The  Death  of 
Jacob,"  both  after  Bida  ;  in  1875,  two  portraits  (in  oil),  three  water- 
color  sketches  for  portraits,  and  an  etching  of  a  portrait  after  Ter- 
burg ;  in  1874,  picture  of  a  "  Young  Breton  Girl  winnowing  Buck- 
wheat on  the  Seashore "  and  an  etching,  "  Fantasy,"  after  Fromen- 
tin  ;  in  1873,  "  A  Spinner"  and  a  portrait  (in  oil),  and  an  etching  of 
"  The  Surrender  of  the  City  of  Breda,"  by  Velasquez  ;  etc.  At  the 
London  Academy,  1878,  he  exhibited  an  etching  after  "The  Prisoner," 
by  Gerome. 

"  The  serious  and  prolonged  studies  of  this  artist  have  resulted  in  a  kind  of  etching 
perfectly  adapted  to  the  interpretation  of  such  a  master  as  Velasquez,  who  dwelt  in  an  ar- 
tistic region  elevated  very  far  above  the  small  prettinesses  of  merely  technical  mechanical 
engravers.  Few  things  in  the  history  of  the  fine  arts  are  more  hopeful  and  encouraging 
than  the  emancipation  of  engraving,  and  its  nearer  approach  to  thoroughly  artistic 
painting,  which  have  been  effected  by  Flameng  and  his  pupils  Rajon  and  Laguillermie. " 
—  P.  G.  Hamerton,  The  Portfolio,  April,  1873. 

Lagye,  Victor.  {Belgian.)  Of  Antwerp.  Pupil  of  Leys.  His 
subjects  are  taken  principally  from  the  fourteenth  and  fifteenth  cen- 
turies. "  The  Antiquaries "  is  remarkable  for  its  finish  of  detail. 
Another  of  his  pictures  represents  a  "  Mother  putting  her  Child  in 
the  Cradle,"  and  gives  a  peep  at  the  family  life  of  the  olden  times  in 
Belgium.  It  was  done  for  the  city  of  Ghent.  He  received  a  medal 
at  Philadelphia,  where  he  exhibited  "  The  Sculptor,  —  Close  of  the 
Fifteenth  Century."  To  the  Paris  Exposition  of  1878  he  contributed, 
"The  Gypsies,"  "The  Sculptor,"  "The  Magician,"  and  "The  Cross- 
bowman." 

Lalanne,  Maxime.  (Fr.)  Born  at  Bordeaux,  1827.  Member  of 
the  Academies  of  Bordeaux  and  Brussels.  Medals  at  the  Expositions 
of  Vienna  and  Philadelphia.  Chevalier  of  the  Legion  of  Honor,  of 
the  Order  of  Christ  of  Portugal,  and  of  that  of  St.  Gregory  the  Great. 
Pupil  of  M.  J.  Gigoux.  Painter  and  engraver,  and  of  later  years 
especially  devoted  to  etching.  He  has  published  a  "Traite  de  la 
Gravure  a  l'Eauforte,"  and  has  illustrated  it  himself  in  a  charming 
manner.  His  oil- pictures  are  landscapes.  Among  his  etchings  are, 
"  Eue  des  Marmousets,  Old  Paris,"  "  View  of  Bordeaux,"  "  Demoli- 
tion for  lengthening  the  Boulevard  St.  Germain,"  "  Demolition  for 
lengthening  the  Rue  des  Jilcoles,"  "  View  from  the  Bridge  of  Saint- 
Michel/'  "  View  from  the  Bridge  de  la  Concorde,"  "  Chez  Victor 
Hugo,"  —  twelve  small  etchings  of  the  house  of  Victor  Hugo,  re- 
markable for  minute  delicacy.  At  the  Salon  of  1877  he  exhibited 
"  View  in  the  Port  of  Quimper,"  "  Bank  of  a  River,"  and  "  In  the 
Fields  of  Cenon,  Gironde";  in  1876,  "The  Chickens,"  after  Ribot, 
"  The  Pool  of  Ville  d'Avray,"  after  Corot,  and  "  Marcoussis,"  after 
Corot. 

"  No  one  ever  etched  so  gracefully  as  Maxime  Lalanne.  The  merit  of  gracefulness 
is  what  chiefly  distinguishes  him ;  there  have  been  etchers  of  greater  power,  of  more 


32       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


striking  originality,  but  there  has  never  been  an  etcher  equal  to  him  in  a  certain  deli- 
cate elegance,  from  the  earliest  times  till  now.  He  is  also  essentially  a  true  etcher  ;  he 
knows  the  use  of  the  free  line  and  boldly  employs  it  on  due  occasion.  So  far  his  work 
is  very  right,  but  it  has  the  fault  of  too  much  system."  —  P.  G.  Hamerton,  Etching  and 
Etchers. 

L'Allemande,  Fritz.  (Ger.)  Born  at  Hanau  (1812-1866).  An 
excellent  painter  of  military  subjects.  He  never  painted  a  picture 
until  he  had  visited  the  scene  of  the  battle.  The  Emperor  Francis 
Joseph  commissioned  him  to  decorate  the  reception-room  of  the 
chateau  of  Schonbrunn.  After  that  work,  which  proved  his  talent  to 
be  good,  he  was  constantly  employed  upon  important  commissions. 
His  "  Episode  in  the  Combat  of  Komorn"  (seen  at  London  in  1862) 
attracted  attention  and  admiration. 

Lambdin,  George  Cochran,  N.  A.  (Am.)  Born  in  Pittsburg, 
Pa.,  1830,  but  has  lived  since  childhood  in  Philadelphia,  with  the 
exception  of  two  years,  1868  to  '70,  spent  in  New  York.  He  studied 
under  his  father,  a  portrait-painter  of  some  repute.  In  1855  he  went 
to  Europe,  spending  two  years  on  the  Continent,  chiefly  in  Munich 
and  Paris.  In  1858  he  sent  to  the  National  Academy,  New  York,  a 
picture  called  "  Our  Sweetest  Songs  are  those  which  tell  of  Saddest 
Thoughts,"  his  first  exhibited  work.  The  original  study  of  this  is 
now  in  the  Suydam  Collection  of  the  National  Academy.  Two  years 
later  he  exhibited  "The  Dead  Wife,"  which  was  selected  by  the 
Committee  to  go  to  the  Paris  Exposition  of  1867.  This  was  followed 
by  "Twilight  Reverie,"  "Ask  Me  No  More,"  and  kindred  works,  of  a 
sentimental  cast  illustrative  of  young  maidenhood.  For  some  years 
afterwards  he  devoted  himself  exclusively  to  portraits  of  children,  of 
which  "  The  Little  Knitter  "  (belonging  to  Mr.  Adams  of  Boston)  is 
among  the  best.  During  his  New  York  residence,  in  1868,  he  was 
elected  a  member  of  the  National  Academy.  After  a  short  visit  to 
Europe,  chiefly  for  the  benefit  of  his  health,  in  1870,  he  settled  at 
Germantown,  near  Philadelphia,  cultivating  in  his  garden  fine  roses 
and  flowers,  to  the  painting  of  which  he  has  since  turned  his  attention 
with  marked  success. 

Lambert,  Louis  Eugene.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Delacroix.  At  the  Salon  of  1877  he  ex- 
hibited "Portrait  of  Lido"  and  "During  the  Mass"  ;  in  1876,  "En 
famille  "  and  "  Pepito,  Toe,  d'Artagnan,"  belonging  to  the  Baroness 
Nathaniel  de  Rothschild;  in  1875,  "Jack,  Sam,  Shot,"  "The  En- 
emy," and  "  L'Envoi "  ;  in  1874,  "  Installation  Provisoire  "  and  "  The 
Hour  of  the  Repast."  This  artist  excels  in  painting  small  animals, 
such  as  kittens,  cats,  etc.  At  the  Salon  of  1878  he  exhibited  "  The 
Cats  of  the  Cardinal "  and  "  Fallen  Greatness." 

"  The  cats  of  M.  Louis  Eugene  Lambert  are  as  usual  the  most  attractive  and  charac- 
teristic reproductions  of  animal  life  to  be  found  at  the  Salon.  One  of  his  contributions 
this  year  is  probably  destined  to  as  widespread  a  popularity  as  was  obtained  by  his 
'  Envoi  en  Provence,'  that  basketful  of  recalcitrant  kittens  that  won  such  a  success  a 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  33 


few  years  ago.  This  year  M.  Lambert  takes  an  historic  flight,  and,  remembering  the 
fact  that  Cardinal  Richelieu  was  passionately  fond  of  cats,  he  paints  for  our  delectation 

the  pets  of  the  great  statesman  His  other  contribution  is  felicitously  named 

'  Fallen  Greatness. '  A  tiger  skin  is  spread  upon  the  floor,  and  a  sober  mother  cat  and 
her  family  have  taken  possession  of  this  relic  of  the  king  of  the  forest.  The  languid  dig- 
nity of  the  mother  cat,  with  her  glossy  fur,  pink  nose,  and  reposeful  attitude,  is  well 
contrasted  with  the  irrepressible  vivacity  of  her  offspring."  —  Art  Journal,  August,  1878. 

Lambinet,  Emile.  (Fr.)  Born  at  Versailles  (1810-1878).  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Drolling.  Made  his  debut  at 
the  Salon  of  1833.  "A  Landscape"  (1855)  is  at  the  Luxembourg. 
His  views  are  those  of  his  own  country,  such  as,  "The  Seine  at 
Bougival,"  "  Norman  Meadows,"  rt  Coasts  of  Normandy,"  "  The  Val- 
ley of  Arques,"  etc.  At  the  Salon  of  1877  he  exhibited  "  The  Village 
of  Quineville  "  ;  in  1876,  "  Summer  "  and  "  Le  Bas-Prunay."  Mrs. 
H.  E.  Maynard  of  Boston  has  three  landscapes  by  this  artist  in  her 
collection.    Two  of  his  works  were  exhibited  at  the  Salon  of  1878. 

"  Lambinet  is  a  man  of  less  power,  but  in  his  limited  choice  of  lowland  scenery  nat- 
ural and  simple,  having  a  refined  taste  and  defined  execution,  suggesting  details  by  em- 
phasis of  brush  rather  than  by  accurate  finish.  He  fills  his  pictures  with  clear,  bright 
light,  rivaling  Nature's  tones  as  fully  as  pigments  may.  But  it  is  a  hazardous  process, 
and  no  way  so  satisfactory  as  the  lower  tone  of  Corot,  whose  treatment  of  light  is  un- 
equaled.  Those  who  follow  Lambinet  in  this  respect  would  do  well  to  recall  Leonardo's 
maxim  in  regard  to  pure  white,  '  Use  it  as  if  it  were  a  gem.'  Lambinet's  landscape, 
although  ever  repeatiug  himself,  is  fresh  and  fragrant,  like  a  bouquet  of  flowers. "  — 
Jarves,  Art  Thoughts. 

Lami,  Louis  Eugene.  (Fr.)  Born  at  Paris,  1800.  Chevalier  of 
the  Legion  of  Honor,  1837,  officer  since  1862.  Pupil  of  Gros,  Horace 
Vernet,  and  FEcole  des  Beaux- Arts.  He  has  engraved  on  stone,  made 
lithographs,  and  painted  in  water-colors  and  in  oils.  "A  Supper  in 
the  Salle  de  Spectacle  at  Versailles  "  and  "  An  Interior  of  a  Church  " 
(water-colors)  are  at  the  Luxembourg.  He  has  given  much  time  to 
water-colors,  and  seems  most  fond  of  that  mode  of  representation. 
But  he  has  also  painted  five  or  more  battle-pieces,  in  oils,  for  the  Gal- 
lery at  Versailles,  and  has  a  facility  of  execution  in  whatever  he 
undertakes. 

Lance,  George.  (Brit.)  (1802-1864.)  Pupil  of  Haydon  and 
of  the  School  of  the  Royal  Academy.  Lance  was  a  very  successful 
painter  of  still-life,  his  works  being  in  the  possession  of  many  noble 
families  of  England.  He  executed  a  few  historical  and  figure  pieces, 
but  was  famous  for  his  fruits  and  flowers.  Among  the  former  may  be 
mentioned,  "  The  Coquette,"  "  The  Lady  in  Waiting,"  and  "  Melanc- 
thon's  First  Misgiving  of  the  Church  of  Borne."  In  1860  he  exhib- 
ited at  the  Koyal  Academy,  "Full  Ripe";  in  1861,  "A  Sunny 
Bank  "  ;  and  in  1862,  "  A  Gleam  of  Sunshine."  Three  of  his  pictures 
(in  the  Vernon  Collection)  are  in  the  National  Gallery,  London,  — 
"  A  Basket  of  Fruit,"  painted  in  1834  ;  "  Red  Cap,"  exhibited  at  the 
British  Institution  in  1847  ;  and  "  Fruit "  (a  pineapple,  grapes, 
melon,  etc.),  painted  in  1848. 
2* 


34       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Lance  was  occasionally  blamed  for  exaggeration  of  color,  but  his  delineation  was 
delicate  and  his  grouping  agreeable."  —  Mrs.  Tytler's  Modem  Painters. 

Landelle,  Charles.  (Fr.)  Born  at  Laval,  1821.  Chevalier  of 
the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of  Delaroche. 
Historical  and  religious  painter  ;  has  also  executed  many  portraits. 
"The  Presentation  of  the  Virgin"  (1859)  is  at  the  Luxembourg. 
His  mural  paintings  are  "  Law,"  "  Justice,"  and  "  Right,"  in  the 
Palace  of  the  Council  of  State  (destroyed  in  1871),  six  decorative 
panels  for  a  salon  in  the  Palace  Elysee,  some  works  at  the  Hotel 
de  Ville  (also  destroyed),  and  the  chapel  of  Saint-Joseph  at  Saint- 
Sulpice.  Among  his  portraits  are  those  of  Alfred  de  Musset,  the 
Countess  Fitz-James,  Mme.  Achille  Fould,  Stackelberg,  Admiral 
Baudin,  Princess  of  Broglie,  and  many  others.  At  the  Salon  of 
1877  he  exhibited  "Salmacis";  in  1875,  "The  Death  of  St. 
Joseph"  ;  in  1874,  "A  Reverie  of  Sixteen  Years"  ;  in  1873,  "A 
Young  Serbian  Gypsy"  and  "The  Samaritan  Woman";  in  1872, 
"  L'Almee "  ;  etc.  At  the  Johnston  sale,  New  York,  1876,  "  The 
Egyptian  Girl"  (17  by  11)  sold  for  $  780  ;  "  The  Greek  Girl  "  (18  by 
14),  for  $  800 .  At  the  Salon  of  1878  he  exhibited  a  portrait  of  the 
Marquis  de  Saint-M.  as  an  Arab  Sheik,  and  "  Ismenis,  a  Nymph  of 
Diana." 

"  This  distinguished  painter  has  a  commonplace  facility,  which  he  dispenses  in  a  per- 
petual repetition  of  himself.  He  is  consecrated  for  the  rest  of  his  days  to  what  is 
called  character  figures,  young  gypsies,  Egyptian  women,  Moorish  women,  Ethiopian 
women.  As  he  knows  how  to  mix  the  right  dose,  and  in  very  decent  proportions,  of  the 
romantic  and  picturesque  with  gravity  and  classic  correctness,  he  never  fails  to  please 
the  public,  although  he  becomes  weaker,  thinner,  and  more  faded  day  by  day."  — 
Ernest  Duvergier  de  Hauranne,  Revue  des  Deux  Mondes,  June,  1871. 

"  If,  carried  away  by  the  sympathy  which  the  artist  inspires,  one  said  that  the  deco- 
ration of  the  chapel  of  Saint-Joseph  was  a  work  of  the  first  order,  he  might  be  accused 
of  thoughtless  enthusiasm  ;  but  he  would  be  unjust  not  to  see  in  it  one  of  those  works 
which  hold  an  equilibrium  between  disparagement  and  eulogy.  M.  Landelle,  whom  the 
public  of  the  Salons  knows  so  well,  has  wished  to  make  himself  appreciated  on  a 
larger  scene.  Without  being  presumptuous  he  had  the  right  to  make  the  attempt,  as 
he  has  now  the  right  to  repeat  it.  The  charming  painter  of  Fellahs  and  Moors  quitted, 
one  fine  day,  the  gallery,  already  long,  of  his  Oriental  beauties.  He  has  elevated  his 
art  by  ascending  the  steps  of  the  church.  Only  an  exigency  could  demand  of  him  to 
leave  forever  the  voluptuous  seraglio  that  he  has  created  and  peopled  ;  but,  now  that 
he  has  penetrated  the  temple,  he  owes  it  to  himself  to  return  there  to  work  and  to 
purify  his  profane  talent.  His  name,  it  is  true,  would  not  be  more  celebrated,  but  it 
would  be  more  enduring."  —  Roger  Ballu,  Gazette  des  Beaux- Arts,  February,  1878. 

Landseer,  John,  A.  R.  A.  (Brit.)  Celebrated  engraver.  Father 
of  Edwin,  Charles,  and  Thomas  Landseer.  Born  in  Lincoln  (1761  - 
1852).  Engraved  vignettes  for  Macklin's  Bible  published  in  1793,  for 
Bowyer's  History  of  England,  views  in  the  Isle  of  Wight  after  Turner, 
South  of  Scotland  after  James  Moore,  and  a  series  of  engravings  of 
animals  after  Gilpin,  Rubens,  Rembrandt,  Snyders,  etc.  In  1807  he 
was  elected  an  Associate  Engraver  of  the  Royal  Academy,  and  exhib- 
ited there  as  late  as  1851  several  sketches  of  Druidical  temples  on  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


35 


Channel  Isles.  In  1806  he  delivered  a  course  of  lectures  on  "  Engrav- 
ing "  before  the  Royal  Institution,  and  in  1823  a  course  on  "  Engraved 
Hieroglyphics."  He  was  the  author  of  a  book  entitled  "  Sabaean 
Researches/'  published  in  1823,  and  of  a  valuable  "  Catalogue  of  the 
Earliest  Pictures  in  the  National  Gallery,"  published  in  1834. 

Landseer,  Thomas,  A.  R.  A.,  his  son  and  pupil,  is  a  well-known 
English  engraver  of  the  present  day.  Elected  Associate  of  the  Royal 
Academy  in  1868.  Among  his  plates  are  Rosa  Bonheur's  "  Denizens 
of  the  Forest,"  and  (after  Edwin  Landseer)  "  Doubtful  Crumbs," 
"The  Sanctuary,"  "The  Challenge,"  "Browsing,"  "Peace,"  "The 
Baptismal  Font,"  and  the  portrait  of  the  Queen.  He  has  also  con- 
tributed to  the  Royal  Academy  many  original  drawings  in  crayon,  and 
(in  oil)  "  A  Deluge  of  Rain,"  "  The  Goat  without  a  Beard,"  "  Lion- 
Hunting,"  "  Cattle,"  etc.    [Died,  1880.] 

"  That  Thomas  Landseer  the  engraver  was  but  an  Associate  by  condescension,  sat 
only  at  a  side-table  at  state  dinners  of  the  Royal  Academy,  not  cheek  by  jowl  with  artists 
[painters]  like  his  brother  Edwin  and  the  already  forgotten  Charles,  —  this  did  not  deprive 
him  of  his  faculty  as  an  artist  or  his  right  to  be  recognized  as  one.  The  two  great  Land- 
seers  were  John  Landseer  the  father,  only  a  'line  engraver,'  and  Thomas  Landseer  the 
son,  a  mere  engraver  also."  —  W.  J.  Linton,  in  Scribner's  Monthly,  June,  1878. 

Landseer,  Charles,  R.  A.  {Brit.)  Son  of  John  Landseer,  and 
elder  brother  of  Edwin,  born  1799.  He  was  a  pupil  of  his  father  and 
of  Haydon,  entering  the  Royal  Academy  at  the  age  of  sixteen.  His 
picture  was  exhibited  in  1828.  He  was  elected  an  Associate  of  the 
Royal  Academy  in  1837,  and  Academician  in  1845.  In  1851  he 
received  the  appointment  of  Keeper,  a  position  he  held  until  1873. 
While  he  has  never  equaled  in  popularity  his  younger  brother,  as  an 
historical  painter  he  has  been  successful.  Among  his  earlier  works, 
four  are  in  the  National  Gallery,  "  The  Sacking  of  Basing  House  " 
(R.  A.,  1836),  "The  Pillaging  "of  a  Jew's  House"  (R.  A.,  1839), 
"  Clarissa  Harlowe  in  the  Sponging-House  "  (Society  of  British  Artists, 
1833),  and  "Bloodhounds  and  Pups"  (Brit.  Ins.,  1839).  He  was  a 
regular  contributor  to  the  exhibitions  of  the  Royal  Academy.  In  1860 
he  sent  "  Trust  " ;  in  1861,  "  Births,  Marriages,  and  Deaths  "  ;  in  1865, 
"  Savage  discovering  his  Parentage  "  ;  in  1867,  "  Cromwell  at  the 
House  of  Sir  Walter  Stewart  in  1651 ";  in  1868,  "  Rustic  Gallantry  "  ; 
in  1870,  "  Surrender  of  Arundel  Castle  in  1643";  in  1871,  "Way- 
farers " ;  in  1872,  "  The  Hamlet  of  St.  Martin-in-the-Fields  " ;  in  1875, 
"Dick";  in  1876,  "  A  Langum  Fishwoman,  Tenby"  ;  in  1877,  "Pa- 
mela concealing  her  Correspondence  between  the  Tiles."  [Died,  1879.] 

Landseer,  Sir  Edwin,  R.  A.  {Brit.)  Born  in  London  (1802  - 
1873).  Youngest  son  of  John  Landseer,  a  distinguished  engraver, 
from  whom  his  children  inherited  their  decided  artistic  talent.  Ed- 
win received  his  first  lessons  in  drawing  from  his  father,  and  at  a  very 
early  age  displayed  great  abilities  as  a  sketcher  and  that  love  of  the 
brute  creation  which  has  been  displayed  in  his  works.    At  the  South 


36       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Kensington  Museum  are  shown  some  of  these  wonderfully  clever 
drawings,  executed  by  him  when  a  child  of  from  five  to  ten  years.  In 
1816  he  entered  the  Royal  Academy,  contributing  at  the  same  time, 
when  only  fourteen  years  of  age,  pictures  to  several  of  the  public  galler- 
ies throughout  the  country.  He  subsequently  studied  under  Haydon. 
His  "  Dogs  Fighting  "  (engraved  by  his  father)  was  painted  in  1818, 
and  "  The  Dogs  of  St.  Gothard  discovering  a  Traveler  in  the  Snow  " 
(also  engraved  by  the  elder  Landseer)  was  painted  in  1820.  From 
that  time  his  success  was  established,  and  his  popularity  as  an  artist 
unequaled,  until  the  day  of  his  death,  by  that  of  any  artist  in  Eng- 
land of  the  nineteenth  century.  In  1826  he  was  elected  Associate  of 
the  Royal  Academy,  and  Academician  in  1831.  He  made  his  first 
trip  to  the  Highlands  of  Scotland  in  1826,  and  there  acquired  that 
bolder  and  freer  style  which  distinguishes  his  maturer  works,  and 
there  also  first  evinced  his  fondness  for  deer  as  subjects.  Soon  after 
this  he  painted  "  Night,"  "  Morning,"  "  The  Sanctuary,"  "  Children 
of  the  Mist,"  "The  Return  from  Deer-Stalking"  (1827),  "The 
Illicit  Whisky-Still"  (1829),  "Sir  Walter  Scott  and  his  Dogs" 
(1833),  "  Peace  "  and  "  War  "  (1846),  "  The  Dialogue  at  Water- 
loo" (1850),  " Rough  and  Ready "  (1857),  and  "The  Maid  and  the 
Magpie  "  (1858).  He  was  knighted  in  1850.  In  1855  at  the  Paris 
Exposition  he  received  one  of  the  two  large  gold  medals  awarded  to 
Englishmen.  The  list  of  his  works  is  very  large,  and  many  of  them 
have  been  engraved.  Fourteen  of  his  pictures  are  in  the  National 
Gallery  in  London,  including  the  "  Alexander  and  Diogenes,"  "  Peace  " 
and  "War,"  "Dignity  and  Impudence"  (painted  in  1839),  "The 
Sleeping  Bloodhound,"  "  Low  Life,"  and  "  High  Life,"  "  Highland 
Music,"  "  Shoeing  the  Bay  Mare,"  and  "  A  Dialogue  at  Waterloo," 
representing  the  Duke  of  Wellington  explaining  to  the  Marchioness 
of  Douro,  his  daughter-in-law,  the  incidents  of  the  great  fight 
years  after  it  had  occurred.  This  is  considered  one  of  the  best  of 
the  few  figure-pieces  he  has  painted.  In  the  Sheepshanks  Collec- 
tion of  South  Kensington  are  sixteen  of  his  works, — "Dog  and  the 
Shadow,"  "Suspense,"  "The  Old  Shepherd's  Chief  Mourner,"  "Com- 
ical Dogs,"  "  A  Highland  Breakfast,"  "  The  Drover's  Departure,"  and 
others.  In  1864  he  exhibited  at  the  Royal  Academy,  "  Piper  and  Pair 
of  Nut-Crackers"  (sold  for  1,000  guineas)  and  "Windsor  Park"  ; 
in  1865,  "  Prosperity,"  "  Adversity,"  and  "  The  Connoisseurs  "  ;  in 
1866,  "  Lady  Godiva's  Prayer,"  "  The  Chase,"  and  "  Odds  and  Ends  "  ; 
in  1867,  "Her  Majesty  at  Osborne"  and  "Wild  Cattle  of  Chilling- 
ham  "  ;  in  1868,  "  Rent  Day  in  the  Wilderness  "  ;  in  1869,  "  Study  of 
a  Lion"  and  "  The  Swannery  invaded  by  Eagles "  ;  in  1870,  "  Queen 
Victoria  meeting  the  Prince  Consort  on  his  Return  from  Deer-Stalk- 
ing" and  "The  Doctor's  Visit  to  Poor  Relations  at  the  Zoological 
Gardens"  ;  in  1872,  "The  Baptismal  Font"  and  "The  Lion  and  the 
Lamb"  ;  in  1873,  "Tracker"  and  a  "Sketch  of  the  Queen,"  which 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  37 


Was  never  finished.  His  pictures  have  brought  very  large  prices  : 
"  Oxen  at  the  Tank,"  a  small  pen-and-ink  sketch,  was  sold  after  his 
death  for  300  guineas  ;  "  Man  proposes  and  God  disposes  "  brought 
2,500  guineas  in  1864.  A  very  large  and  complete  exhibition  of 
Landseer's  etchings  and  sketches  was  held  in  London  in  1875.  He 
designed  the  sculptured  lions  at  the  base  of  Nelson's  Monument,  Tra- 
falgar Square,  unveiled  in  1867,  but  was  not  as  successful  in  sculpture 
as  in  painting. 

"Take,  for  instance,  one  of  the  most  perfect  poems  or  pictures  (I  use  the  words  as 
synonymous)  which  modern  times  have  seen,  '  The  Old  Shepherd's  Chief  Mourner. '  Here 
the  exquisite  execution  of  the  glossy  and  crisp  hair  of  the  dog,  the  bright,  sharp  touch- 
ing of  the  green  hough  beside  it,  the  clear  painting  of  the  wood  of  the  coffin,  are  lan- 
guage,—  language  clear  and  expressive  in  the  highest  degree  It  ranks  as  high  art, 

and  stamps  its  author,  not  as  the  neat  imitator  of  the  texture  of  a  skin  or  the  fold  of  a 
drapery,  but  as  the  man  of  mind."  —  Ruskin's  Modern  Painters. 

"  One  of  Stanfield's  landscapes  or  of  Landseer's  hunting-pieces  is  worth  all  the  mystic 
daubs  of  all  the  Germans. "  — Macaulay's  Life  and  Letters,  Vol.  II.  Chap.  XIV. 

"Landseer  has  great  merit  not  only  as  a  painter  of  deer  and  dogs  and  horses,  but  as 
an  artist  most  skillful  in  his  delineation  of  human  figures,  and  of  original  genius  in  the 
representation  of  vast  subjects  in  small  isolated  series  of  individualized  parts  conceived 
and  wrought  out  with  such  powers  of  comprehension  and  concentration  that  in  a  single 
episode  of  4  Peace  '  and  '  War,'  all  of  the  blessings  of  the  former,  all  of  the  horrors  of  the 
latter,  are  conveyed  to  the  mind  of  the  person  who  looks  on  these  masterpieces.  There  is 
in  Landseer's  compositions  an  exquisite  delicacy  of  organization,  an  acute  sense  of  per- 
ception of  all  that  is  harmonious  in  nature  or  art,  a  nervous  susceptibility  of  all  im- 
pressions, pleasing  or  poetical,  such  as  it  would  be  difficult  to  find  in  other  artists."  — 
Memoirs  of  the  Countess  of  Blessington. 

"  Landseer  has  been  distinguished  for  his  masterly  handling  of  his  art  and  the  singular 
expertness  with  which  he  has  been  able  to  paint  His  pictures  have  been  largely  en- 
graved, and  have  commanded  a  large  sale.  ....  Hardly  a  house  which  contains  an 
engraving  at  all  is  without  one  of  a  picture  of  Landseer."  — Mrs.  Tytler's  Modern 
Painters. 

"As  monumental  sculptures  these  Lions  of  Landseer's  in  Trafalgar  Square  have  been  a 
mistake  throughout ;  badly  planned,  badly  modeled,  and  badly  cast. "  —  Saturday  Review, 
1867. 

"The  noble  Lions  at  the  foot  of  Nelson's  Column  were  added  by  Sir  Edwin  Landseer 
in  1867.  Only  one  of  them  was  modeled  ;  a  slight  variation  in  the  treatment  adapted 
the  others  to  their  pedestals.  Their  chief  grandeur  lies  in  their  mighty  simplicity."  — 
Hare's  Walks  in  London,  1878. 

Landseer,  George.  (Brit.)  Son  of  Thomas  Landseer.  He  died 
in  1878.  A  portrait-painter  of  some  merit.  He  also  exhibited  land- 
scapes from  time  to  time. 

Lane,  R.  J.,  A.  R.  A.  (Brit.)  (1800  - 1872.)  A  grand-nephew  of 
Gainsborough.  He  was  articled  in  1818  to  Heath,  the  well-known  line- 
engraver,  but  soon  turned  his  attention  to  lithography,  in  which  branch 
of  his  profession  he  was  wonderfully  successful,  practicing  it  for  many 
years,  and  reproducing  many  works  of  Landseer,  Leslie,  Lawrence, 
Gainsborough,  and  other  artists.  In  1827  he  was  made  an  Associate  of 
the  Royal  Academy,  and  in  1837  he  was  appointed  Lithographer  to 
the  Queen.    He  devoted  himself  particularly  to  engraving  on  copper 


38       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


during  the  last  years  of  his  life,  and  was  for  some  time  superintendent 
of  the  etching  class  at  the  South  Kensington  Museum. 

Lang,  Louis,  N.  A.  (Ger.-Am.)  Bom  in  Wiirtemberg,  1814.  Son 
of  an  historical  painter.  He  early  showed  a  taste  for  art,  and  between 
the  age  of  sixteen  and  twenty  executed  several  hundred  pastel  por- 
traits of  the  people  among  whom  he  lived.  In  1834  he  went  to  Paris 
for  the  purpose  of  study  ;  spent  some  time  at  Stuttgart,  and  sailed  for 
America  in  1838,  living  in  Philadelphia  several  years.  He  then  re- 
turned to  Europe,  passing  five  or  six  years  in  Venice,  Rome,  Florence, 
and  Paris.  In  1852  he  was  made  a  member  of  the  National  Acad- 
emy of  New  York,  making  that  city  his  home.  He  visits  Europe  fre- 
quently, but  is  at  present  (1884)  in  New  York.  He  is  a  member  of 
the  Artists'  Fund  Society  of  New  York,  contributing  to  its  sale  in  1878, 
"Chasing  Butterflies,"  "Fresh  Cherries,"  and  "Neapolitan  Fisher 
Family."  Lang  sent  to  the  National  Academy,  New  York,  in  1869, 
"  The  Stolen  Child  "  and  "  Asleep  in  Prayer  ";  in  1870,  "  Fresh  Flow- 
ers "  and  "An  Old  Mill  at  Greenwich,  Ct.";  in  1871,  "Little  Gra- 
ziosa  among  the  Butterflies,"  "  Blind  Nydia,"  and  "  Jephthah's  Daugh- 
ter." He  sent  to  the  American  Centennial  Exhibition  of  1876  his 
"  Landing  of  the  Market-Boat  at  Capri."  His  "  Mary  Stuart  distrib- 
uting Gifts  "  and  the  "  Maid  of  Saragossa  "  are  in  the  gallery  of  Robert 
L.  Stuart. 

"  Lang  indulges  in  brilliant  colors,  and  has  executed  several  large  and  glowing  pictures 
of  our  popular  holidays  ;  he  is  fond  of  delineating  female  and  infantile  beauty  with  gay 
dresses  and  flowers,  and  has  adventured  somewhat  in  historic  art."  —  Tuckerman's  Book 
of  the  Artists. 

"In  Lang's  studio  in  Rome  are,  'A  Bivouac  of  Circassian  Slaves,'  'Mary,  Queen  of 
Scots,'  'Cleopatra,'  '  Preziosa,  or  the  Stolen  Child,'  and  'Cinderella.'  ....  The  color 
of  '  Cinderella '  is  very  rich  and  admirably  managed,  as  well  as  the  contrast  between  the 
haughty,  conquest-anticipating  sisters,  and  the  gentle,  beautiful  one  who  serves  them." 
—  Art  Journal,  September,  1875. 

Langerfeldt,  T.  O.  (Ger.-Am.)  Born  in  Buckeburg,  Principality 
of  Schaumburg-Lippe,  Germany,  1841.  Studied  as  an  architect  at  the 
Poly  technical  School  of  Hanover,  and  became  a  landscape-painter 
upon  his  removal  to  England,  where  he  spent  five  years.  He  settled 
in  Boston  in  1868,  and  has  since  resided  in  that  city,  making  a  trip  to 
Germany  and  the  Netherlands  in  1874.  Some  of  Langerfeldt's  ar- 
chitectural drawings  in  water-color  are  in  the  possession  of  the  Super- 
intending Architect  at  the  Treasury,  Washington,  D.  C,  and  many  of 
his  views  of  New  England  scenery,  exhibited  at  Boston  and  New 
York,  are  in  the  private  galleries  of  those  cities.  There  was  an  ex- 
hibition of  his  works  in  the  gallery  of  the  Boston  Art  Club  in  the 
winter  of  1874,  upon  his  return  from  Europe.  For  one  of  his  archi- 
tectural water-color  drawings  he  was  awarded  a  prize  at  the  Centennial 
Exhibition  of  1876. 

"  Mr.  Langerfeldt's  style  is  refreshing  in  its  freedom  and  unconventionality.  His  col- 
oring is  bright,  harmonious,  and  agreeable  ;  and  his  manner  combines  aerial  delicacy  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  39 


tone  with  a  manly  strength  The  collection  is  remarkable  for  its  architectural 

features,  great  towers  with  queer  turrets,  gables,  and  picturesque  excrescences  breaking 
out  in  unexpected  places ;  noble  cathedrals,  curious  street  scenes,  picturesque  roadside 
shrines,  and  pretty  cottages.  There  are  some  admirable  landscapes  aud  wood  interiors. " 
—  Boston  Herald,  November,  1874. 

"  We  particularly  noticed  a  pair  of  Langerfeldt's  water-colors,  which  were  full  of 
nature's  spirit.  The  forest  piece  struck  us  as  being  very  happy  in  its  effect  of  luminosity. 
Mr.  Langerfeldt  goes  to  nature  as  his  master,  and  while  he  may  not  master  nature,  as  no 
artist  can,  he  masters  important  features.  He  secures  an  out-door  effect,  which  is  seen 
in  all  his  works."  —  Boston  Transcript,  January  19,  1876. 

Lanoue,  F&ix  Hippolyte.  (Fr.)  Born  at  Versailles  (1812-1872). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  V.  Bertin  and  Horace 
Vernet.  Landscape-painter.  His  "  View  of  a  Forest  of  Pines  "  is 
at  the  Luxembourg.  Some  of  his  works  are  at  Versailles,  at  the 
church  of  Saint-£tienne-du-Mont,  and  in  various  public  places. 

Lansil,  Walter  F.  (Am.)  Born  in  Bangor,  Me.,  1846.  He 
studied  art  in  his  native  city  under  J.  P.  Hardy,  but  has  spent  the 
greater  part  of  his  professional  life  in  Boston.  He  was  elected  a 
member  of  the  Bangor  Art  Association  in  1876,  of  the  Boston  Art 
Club  in  1877.  He  makes  marine  views  a  specialty.  Among  his 
most  important  pictures  are,  "  Crossing  the  Georges'  "  (belonging  to 
the  Boston  Marine  Insurance  Company),  "Abandoned,"  "Sunset, 
Boston  Harbor,"  "  Fishermen  in  a  Calm,"  etc. 

"  Walter  F.  Lansil's  last  important  painting  is  still  on  his  easel,  awaiting  the  final 
touches.  It  is  a  view  of  Charlestown  and  that  portion  of  the  harbor  which  is  embraced 
in  a  view  from  the  southeast.   The  sun  is  setting  in  a  glowing  sky  that  is  varied  by 

fleecy  clouds,  tinged  with  crimson  and  gold  A  shimmering  light  that  is  thrown 

by  the  sun  upon  the  water  is  rendered  with  great  success,  and  the  masts  of  the  shipping 
on  the  piers,  in  the  middle  distance,  rising  suggestively  from  the  sun-bathed  mists,  add 
much  to  the  poetry  of  the  scene." —  Boston  Daily  Evening  Travtller,  May  2,  1878. 

Lansyer,  Emmanuel.  (Fr.)  Born  at  Tile  Bouin  (Vendee),  1835. 
Medals,  1865,  '69,  and  '73.  Pupil  of  Courbet  and  Harpignies.  Painter 
of  marines  and  landscapes.  Many  of  his  motives  are  from  Brittany. 
He  has  also  painted,  in  the  grand  vestibule  of  the  Palace  of  the  Legion 
of  Honor,  a  large  picture  called  "  View  of  the  Palace  of  the  Legion 
of  Honor,  taken  from  the  Quai  d'Orsay."  At  the  Luxembourg  is  his 
"  Landscape,  —  the  Chateau  of  Pierrefonds"  (1869).  At  the  Salon  of 
1878  he  exhibited  "  Flowering  Fields,  near  Douarnenez  "  and  a  "  Vue 
de  la  Cour  du  May  au  XV6  sifale"  for  a  salon  in  the  Palais-de- J ustice. 

Laoust,  Andre-Louis-Adolphe.  (Fr.)  Born  at  Douai.  Medals 
in  1873  and  '74.  Pupil  of  Jouffroy.  At  the  Salon  of  1877  he  exhib- 
ited "  St.  John  with  his  Cross"  and  a  portrait  bust  in  bronzed  plaster; 
in  1876,  a  medallion  portrait ;  in  1875,  two  portraits ;  in  1874,  "  Am- 
phion,"  a  marble  statue,  a  group  in  plaster,  "  The  Capture,"  and  a 
bust  in  plaster  ;  in  1878,  "  Spes"  (a  statue  in  plaster)  and  a  portrait 
bust. 

Lapierre,  Louis  Emile.  (Fr.)  Born  at  Paris  about  1820.  Chev- 
alier of  the  Legion  of  Honor.    Pupil  of  Victor  Bertin.    Among  his 


10       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


pictures  are,  "  Twilight,"  "  A  Pond  in  the  Forest  of  Champagne," 
"  Interior  of  a  Forest,"  "  Setting  Sun  in  Winter,"  etc. 

Lapito,  Louis- Auguste.  {Fr.)  Born  at  Saint- Maur  (1805- 
1874).  Chevalier  of  the  Legion  of  Honor  and  of  the  Order  of  Bel- 
gium. Pupil  of  Watelet  and  Heim.  He  traveled  much  on  the  Con- 
tinent of  Europe.  Perhaps  his  water-colors  are  more  admired  than 
his  oils.  His  works  are  seen  in  public  galleries  in  France,  Holland, 
and  Belgium.    They  are  all  landscapes. 

Lapostolet,  Charles.  (Fr.)  Born  at  Velars.  Pupil  of  Cogniet. 
At  the  Salon  of  1877  he  exhibited  "Eouen"and  "The  Station  at 
Auteuil."  His  pictures  are  all  landscapes.  At  the  Royal  Academy, 
in  1872,  he  exhibited  "Low  Tide  at  Trouville."  His  "View  of  the 
Canal  Saint-Martin  at  Paris,  Winter,  from  the  Bridge  of  the  Street 
Buttes-Chaumont "  (1870)  is  in  the  Luxembourg.  At  the  Salon  of 
1878  he  exhibited  "  The  Canal  of  the  Giudecca,  Venice." 

Lasch,  Karl  Johann.  (Ger.)  Born  at  Leipsic,  1822.  Professor 
at  Diisseldorf  and  member  of  the  Academies  at  Dresden,  Vienna,  and 
St.  Petersburg.  Medals  at  Berlin,  Dresden,  Vienna,  and  Philadel- 
phia. Studied  at  the  Dresden  Academy  under  E.  Bendemann,  and 
at  Munich  under  Schnorr  and  Kaulbach.  In  1847  he  visited  Italy. 
Later,  he  painted  portraits  at  Moscow.  In  1857  he  settled  in  Paris. 
In  1860  he  removed  to  Diisseldorf.  His  pictures  are  of  genre  subjects, 
and  he  inclines  to  romantic  and  idyllic  scenes.  In  the  National  Gal- 
lery at  Berlin  is  the  "  Master's  Birthday." 

Lathrop,  Francis.  (Am.)  Born  on  the  Pacific  Ocean,  two  days' 
sail  from  the  Sandwich  Islands,  in  1849.  In  1860  he  began  the  study 
of  art  under  T.  C.  Farrer  in  New  York.  He  went  to  Germany  in 
1867,  entering  the  Royal  Academy  of  Dresden.  In  1870  he  settled  in 
London,  remaining  three  years  in  the  studio  of  Madox  Brown.  He 
was  for  some  time  during  his  London  residence  with  William  Morris, 
in  his  establishment  for  the  manufactory  of  artistic  household  goods, 
and  was  also  an  assistant  of  Spencer  Stanhope.  Since  1870  he  has 
lived  in  the  United  States.  He  has  painted  portraits,  furnishing,  also, 
illustrations  for  Clarence  Cook's  "  House  Beautiful,"  and  other  publi- 
cations of  Scribner  &  Co.  He  is  a  member  of  the  Society  of  Amer- 
ican Artists,  sending  to  its  first  exhibition,  in  1878,  portraits  of 
Thomas  and  Ross  R.  Winans.  He  assisted  in  the  decoration  of 
Trinity  Church,  Boston,  of  which  he  designed  the  chancel.  During 
the  winter  of  1878  he  was  engaged  in  decorating  the  interior  of 
Bowdoin  College  Chapel  at  Brunswick,  Me. 

Latouche,  Louis.  (Fr.)  Born  at  Ferte-sous- Jouarre.  A  marine- 
painter.  At  the  Cottier  sale,  New  York,  1878,  his  "  Normandy  Coast- 
Scene  "  sold  for  $  745.  At  the  Paris  Salon  of  1878  he  exhibited 
"  The  Beach  at  Berck"  (Pas-de-Calais). 

Lauder,  Robert  Scott.  (Brit.)  Born  in  Edinburgh  (1803- 
1869).    He  became  a  student  of  the  Trustees  Academy  at  the  age 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  41 


of  fifteen.  About  1823  he  went  to  London,  studying  for  three  years 
in  the  British  Museum.  He  visited  Italy  in  1833,  remaining  until 
1838,  in  close  observation  and  study,  in  Rome  and  Florence.  He  re- 
sided in  London  until  1850,  when  he  settled  in  Scotland,  and  became 
principal  instructor  in  the  Trustees  Academy.  He  exhibited  fre- 
quently at  the  Royal  Academy  and  the  Royal  Scottish  Academy,  of 
which  latter  institution  he  was  made  a  full  member  in  1830.  He 
was  the  author  of  many  popular  pictures,  illustrative  of  Scottish 
history  and  romance,  many  of  which  have  been  engraved.  Among 
these  may  be  mentioned,  "  Meg  Merrilies,"  "  The  Fair  Maid  of 
Perth,"  "The  Bride  of  Lammermoor,"  and  "The  Trial  of  Effie 
Deans."  His  "  Christ  teaching  Humility  "  is  in  the  Scottish  National 
Gallery.  By  reason  of  ill-health  he  did  not  practice  his  profession  for 
some  years  before  his  death. 

Lauder,  James  B.  (Brit.)  (1812-1869.)  He  studied  under  Sir 
William  Allan  in  Edinburgh,  and  spent  five  years  in  study  in  Rome. 
He  was  made  Associate  of  the  Royal  Scottish  Academy  in  1842 
and  Academician  in  1849.  In  1847  he  received  from  the  Committee 
for  the  Decoration  of  Westminster  Hall  a  prize  of  £200  for  his 
"  Wisdom  "  and  "  The  Unjust  Steward."  Among  his  most  popular 
works  may  be  mentioned,  "  Ferdinand  and  Miranda,"  "  Lorenzo  and 
Jessica,"  "The  Toilet,"  "The  Money-Lender,"  "Time  Changes," 
"  Gethsemane,"  "The  Parable  of  the  Ten  Virgins,"  "James  Watt  and 
the  Steam-Engine,"  "  Walter  Scott  and  Sandy  Ormiston,"  many  of 
which  have  been  engraved. 

Lauge*e,  Francois  De*sire\  (Fr.)  Born  at  Maromme,  1823. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Picot  and  F^cole  des 
Beaux- Arts.  His  picture  of  "  Eustache  Lesueur  chez  les  Chartreux  " 
(1855)  is  at  the  Luxembourg.  "  St.  Elisabeth  of  France  washing  the 
Feet  of  the  Poor  "  (1867)  was  purchased  by  the  Emperor.  Among 
his  pictures  may  also  be  named,  "  The  Candle  of  the  Madonna  " 
and  "Going  to  Matins"  (both  scenes  of  the  thirteenth  century),  in 
1877  ;  "  The  Angel  who  bears  the  Censer,"  in  1876  ;  "  The  Young 
Housekeeper,"  in  1875  ;  many  portraits  and  mural  paintings  at  the 
church  of  St.  Peter  and  St.  Paul  at  St.  Quentin,.in  the  church  of  the 
Trinity  at  Paris  (in  the  chapel  of  St.  Denis).  At  the  Salon  of  1878 
he  exhibited  "  An  Old  Man  "  and  "  An  Old  Woman,"  and  a  cartoon 
of  his  picture  of  St.  Denis  in  the  church  of  the  Trinity. 

"The  'Martyrdom  of  St.  Denis' is  a  drama  which  Laugee  has  represented  full  of 
action,  tumultuous,  terrible.  Even  as  a  page  of  history  alone,  it  interests  and  capti- 
vates. Behold  the  first  impression  which  comes  from  this  painting.  The  qualities 
which  a  further  study  discloses  are  purity  of  design,  firmness  of  lines,  clearness  of  mise 
en  scene,  and  richness  of  coloring,  sustained  without  weakness." — Roger  Ballu, 
Gazette  des  Beaux-Arts,  February,  1878. 

Launitz,  Robert  E.,  N.  A.  (Am.)  Born  in  Russia  (1806  - 1870). 
Studied  under  his  father,  a  sculptor  of  some  ability.  In  1830  he 
came  to  America,  and  was  made  a  member  of  the  National  Academy 


42       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


three  years  later.  Among  the  better  known  of  his  works  are  the 
Pulaski  Monument  in  Savannah,  Ga.,  the  statue  of  General  Thomas 
at  Troy,  N.  Y.,  and  several  fine  monuments  in  Greenwood  Cemetery. 

Laurens,  Jean  Paul  (Fr.)  Born  at  Fourquevaux,  1838.  Officer 
of  the  Legion  of  Honor,  1878.  Medal  of  Honor,  1877.  Member 
of  the  jury  for  the  Exposition  of  1878,  and  for  the  annual  Salon. 
Pupil  of  Bida  and  Leon  Cogniet.  This  painter  made  his  debut  at  the 
Salon  of  1863.  His  most  important  works  are,  "  The  Death  of  the 
Duke  d'Enghien,"  at  the  Museum  of  Alengon  ;  "  The  Excommu- 
nication of  Kobert  the  Pious"  (1875),  now  at  the  Luxembourg; 
"  Francis  di  Borgia  before  the  Dead  Isabella  of  Portugal "  ;  "  The 
Austrian  Staff-Officers  around  the  Death-Bed  of  Marceau "  (1877), 
purchased  by  the  city  of  Ghent  for  40,000  francs  ;  "  Death  of  Sainte- 
Genevieve  "  at  the  Pantheon  ;  "  St.  Bruno  refusing  the  Gifts  of  Boger, 
Count  of  Calabria,"  in  the  church  of  Notre-Darne-des-Champs  ;  "  Pope 
Formosa  and  Stephen  VII.";  "  The  Fishing  at  Bethsaida,"  at  the  Mu- 
seum of  Toulouse  ;  "  The  Interdict,"  at  the  Museum  of  Havre  ;  "  The 
Funeral  of  William  the  Conqueror,"  at  the  Museum  of  Beziers  ;  etc. 

The  following  extract  refers  to  the  picture  of  the  "  Death  of  Mar- 
ceau "  :  — 

"  This  magnificent  picture  is  better  than  an  apotheosis  ;  it  is  a  transfiguration.  The 
drawing  of  Laurens  has  never  been  more  firm  and  well  sustained,  his  arrangement  never 
more  perfect,  and  his  execution  more  masterly.  Perhaps  he  might  be  a  little  reproached, 
this  severe  and  sober  colorist,  for  certain  effects  of  color,  —  a  little  bold,  —  that  of  the 
screen,  for  example,  and  the  red  cloak.  But  time  will  deaden  them,  and  bring  them  into 
a  religious  harmony  with  the  whole  But  of  what  import  all  these  minute  criti- 
cisms ?  The  universal  suffrage,  as  just  in  art  as  in  politics,  has  recognized  and  proclaimed 
immediately  in  this  work,  not  only  one  of  the  incontestable  glories  of  the  modern  school, 
but  still  more,  one  of  the  most  noble  pages  of  history  which  the  immense,  eternal,  invin- 
cible French  Revolution  inspired."  —  Mario  Proth,  Voyage  au  Pays  des  Peintres,  1877. 

"  The  pictures  of  history,  properly  so  called,  become  more  and  more  rare  at  our  annual 
expositions.  The  genre,  landscapes,  and  portraits  make  up  the  largest  part  of  the  works 
contributed.  So  much  the  more  necessary  is  it  to  notice  the  artists  who  go  against  the  cur- 
rent bravely,  and  among  them  is  J.  P.  Laurens,  pupil  of  Bida,  who  has  given  two  very 
remarkable  pictures  to  this  Salon  of  1872.  One  of  them,  of  a  somber  tone  and  of  singular 
energy,  represents  the  terrible  and  almost  fantastic  scene  in  which  Stephen  VII.,  having 
exhumed  the  body  of  his  predecessor,  Pope  Formosa,  bears  it,  reclothed  with  the  pon- 
tifical vestments,  into  the  Salon  of  Council ;  then,  when  an  advocate  had  been  appointed 
to  reply  in  the  name  of  the  dead  Pope,  he  heaped  upon  the  corpse  adjurations  and  accu- 
sations. The  scene  is  fierce  and  savage,  and  Laurens  has  thus  treated  it.  The  corpse 
of  the  dead  Pope,  with  open  mouth,  the  skin  already  black,  extended  on  the  chair,  the 
red  gloves  covering  the  fieshless  hands,  is  as  sinister  as  the  dead  of  Valdes  L6al  that  one 
sees  at  Seville.  He  is  not  the  only  Spanish  painter  this  dismal  canvas  recalls.  We 
might  take  the  members  of  the  Council  of  Laurens  for  the  bishops  or  torturers  escaped 
from  a  picture  by  Herrera.  The  face  of  the  advocate  of  the  dead,  the  menacing  gesture  of 
Stephen  VII. ,  the  corpse  itself  in  which  the  drama  centers,  the  gray  walls  with  their 
crosses  of  blood,  the  tripod,  the  sepulchral  atmosphere  of  the  scene,  add  to  the  impres- 
sion produced  by  this  picture,  —  one  of  the  best  of  the  Salon."  —  Jules  Claretie, 
Peintres  ct  Seulptmrs  Contemporains. 

"  And  one  of  the  most  important  art  movements  of  the  present  day  is  caused  by  a 
munificent  expenditure  of  money  for  the  decoration  of  the  entire  interior  of  the  Pan- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  43 


theon  by  celebrated  French  artists,  with  scenes  illustrative  of  the  history  of  Sainte-Gene- 
vieve.  The  subject  is  national ;  no  foreign  artist  has  ever  attempted  it  with  success. 
To  M.  Jean  Paul  Laurens  a  most  important  part  of  this  work  has  been  confided,  — 
a  space  ten  yards  in  length  in  the  sight  of  the  abside.  At  the  Universal  Exhibition 
M.  Laurens  shows  nine  of  his  well-known  paintings,  including  the  '  Excommunicated,' 
the  'Borgia,' the  'Execution  of  the  Due  d'Enghien,'  and  the  'Death  of  General  Mar- 
ceau,'  which  took  the  medal  of  honor  at  the  Salon  of  1877.  The  lugubrious  themes  which 
have  always  inspired  the  best  efforts  of  this  artist  prepare  one  to  learn  that  he  has  now 
chosen  to  represent  the  closing  scene  in  the  life  of  the  saint.  The  new  work  is  stamped 
with  the  solemn  grandeur  of  style,  the  simplicity  of  effect  and  broad  handling  character- 
istic of  all  his  works,  while  the  realism  which  has  been  to  some  repulsive  is  refined  by  a 
religious  sentiment  more  elevated,  but  not  less  tragic.  The  dying  saint  is  represented 
reclining  on  a  couch.  Her  hands  are  raised  to  bless  the  company  about  her.  During 
eighty  years  she  had  prayed  and  cared  for  the  poor.  Her  arms,  enfeebled  by  old  age  and 
by  privation,  are  sustained  by  two  young  girls,  who  have  reverently  interposed  a  drapery 
between  their  hands  and  the  form  which  is  to  them  sacred.  The  numerous  company 
around  them,  of  every  age  and  condition,  is  grouped  with  skill.  The  dignitaries  of  the 
Church  occupy  the  center.  A  picturesque  assemblage  of  the  costumes  of  the  fifth  cen- 
tury indicates  that  the  Greek,  Latin,  and  Pagan  religions  had  all  yielded  to  her  influ- 
ence. Nearer  the  entrance  beggars  in  their  rags  contrast  with  the  richness  of  the 
principal  group.  It  is  right  that  this  interesting  historic  composition  should  be  painted 
in  lasting  materials  on  the  very  Avails  of  the  Pantheon,  for  it  is  a  masterpiece  and  de- 
serves to  endure."  —  London  Daily  News,  May  15,  1878. 

Lauters,  Paul.  (Belgian.)  (1806-1875.)  This  artist  was  distin- 
guished for  his  excellent  landscapes  in  water-colors.  He  was  a  Chev- 
alier of  the  Order  of  Leopold,  and  a  Professor  in  the  Academy  of 
Brussels.  He  sometimes  painted  in  oil.  His  works  showed  a  delicate 
and  refined  perception  of  the  beauties  of  Nature,  rather  than  brilliant 
color  or  powerful  execution. 

Lawman,  Jasper.  (Am.)  Born  in  Xenia,  Ohio,  1825.  He  be- 
gan his  professional  career  at  Cincinnati  when  a  lad  of  fourteen.  In 
1846  he  removed  to  Pittsburg,  Pa.,  where  he  has  since  resided.  In 
1859  he  went  to  Paris  to  study,  remaining  for  a  year  under  Couture. 
His  pictures  are  owned  in  New  York,  Baltimore,  Chicago,  Philadel- 
phia, and  elsewhere.  Many  are  in  the  possession  of  Capt.  William 
Ward,  John  Scott,  Judge  W.  G.  Hawkins,  John  W.  Hampton,  John 
Dalzell,  and  other  residents  of  Pittsburg. 

Lawrie,  Alexander,  A.N. A.  (Am.)  Born  in  the  city  of  New 
York,  1828.  He  began  his  studies  in  the  life  and  antique  classes  of 
the  Academy  of  Design,  and  in  the  Pennsylvania  Academy  of  Fine 
Arts.  Later  he  went  to  Europe,  studying  under  Picot  in  Paris  and 
E.  Leutze  in  Diisseldorf,  working  also  in  Florence.  He  occupied  a 
studio  in  Philadelphia  for  some  time,  but  has  been  a  resident  of  New 
York  during  the  better  part  of  his  professional  life.  He  is  a  member 
of  the  Artists'  Fund  Societies  of  New  York  and  Philadelphia,  and  was 
elected  an  Associate  of  the  National  Academy  in  1866,  to  the  annual 
exhibitions  of  which  he  is  a  constant  contributor,  sending  landscapes, 
ideal  figure-pieces,  and  portraits,  in  crayon  and  oil.  In  1869  he  ex- 
hibited "  Autumn  in  the  Hudson  Highlands  "  (belonging  to  Henry 


44       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Marks)  ;  in  1870,  "  A  Valley  in  the  Adirondacks  "  (belonging  to  N. 
T.  Bailey)  ;  etc.  His  portrait  of  Judge  Sutherland  belongs  to  the  New 
York  Bar  Association  ;  that  of  Gen.  Z.  Tower  is  in  the  Library  of  the 
United  States  Military  Academy  at  West  Point.  He  has  also  painted 
Gen.  John  F.  Reynolds,  Col.  J osiah  Porter,  and  other  proniinent  men. 
He  has  been  particularly  successful  in  his  portraits  of  ladies.  Among 
his  crayon  heads,  numbering  in  all  about  a  thousand,  the  best  known 
are  those  of  Richard  H.  Stoddard,  Thomas  Buchanan  Read,  George  H. 
Boker,  and  other  literary  men.  His  "  Monk  playing  the  Violoncello  " 
and  "  Autumn  in  the  Highlands  "  were  at  the  Centennial  Exhibition 
of  1876. 

"  Lawrie  exhibited  a  portrait  of  three-quarters  length,  which  is  simply  admirable.  Ad- 
mirable in  execution,  in  the  rich  simplicity  of  the  dress,  in  the  fresh  loveliness  of  the 
face,  and  in  the  union  of  boldness  and  strength  with  gentleness  and  delicacy." — Art 
Journal,  May,  1877. 

Lawson,  Cecil  G.  (Brit.)  Born  in  Shropshire,  1851.  Son  of 
William  Lawson  a  portrait-painter,  under  whom  he  studied.  He  has 
lived  for  some  years  in  London.  Among  his  more  important  works 
are,  "In  the  Valley, — a  Pastoral,"  at  the  Royal  Academy  in  1873, 
and  the  Grosvenor  Gallery  in  1878  ;  "  The  Hop-Gatherers  of  Eng- 
land," exhibited  at  the  Royal  Academy  and  in  Liverpool  in  1875  ; 
"  The  Minister's  Garden  "  and  "  Strayed,  —  a  Moonlight  Pastoral,"  at 
the  Grosvenor  Gallery  in  1878  ;  "  The  Dragon-Flies,"  never  pub- 
licly exhibited ;  etc.  His  pictures  are  in  the  possession  of  Viscount 
Powerscourt,  Godfrey  Fawsett,  Louis  Huth,  Mrs.  P.  Flower,  and 
others.    [Died,  1882.] 

"A  distinctive  place  C.  G.  Lawson  has  undoubtedly  taken  as  one  of  the  first  to  at- 
tempt on  a  large  scale  the  reconciliation  of  the  realistic  with  the  poetic  treatment  of 
nature.  In  '  The  Minister's  Garden,'  for  example,  there  is  no  want  of  painstaking  fidelity 
to  nature  in  the  sturdy  fir-tree,  the  roses,  the  hollyhocks,  and  the  beehives  in  the  fore- 
ground, nor  in  the  meadows,  swelling  uplands,  and  distant  hills,  towards  which  we  look 
from  the  garden  which  gives  its  title  to  the  picture  ;  but  at  the  same  time  the  artist  has 
thrown  such  a  tender  and  peaceful  sentiment  into  his  work,  harmonizing  the  bright  colors 
of  the  foreground  and  choosing  a  moment  of  subdued  light  for  the  wide  expanse  of 
landscape,  that  he  has  fully  justified  himself  in  describing  it  as  '  a  tribute  to  the  memory 
of  Oliver  Goldsmith.'  It  is  just  such  a  garden  as  fancy  would  choose  for  the  Vicar  of 
Wakefield  to  sit  in."  —  London  Examiner,  May  4,  1878. 

"  Much  as  we  value  '  The  Minister's  Garden,'  we  prefer  to  it  Mr.  Lawson 's  second  and 
rather  less  large  picture,  '  In  the  Valley,  —  a  Pastoral,'  which  we  remember  enjoying  some 
years  ago  at  the  Royal  Academy.  This  is  pre-eminently  graceful,  and  poetic  in  its  grace  ; 
it  affects  one  like  a  snatch  of  delicate  descriptive  lyrical  verse.  ....  Even  had  we  never 
before  seen  any  productions  by  Mr.  Lawson,  what  he  now  shows  in  the  Grosvenor  Gallery 
would  prove  to  us  indisputably  his  possession  of  the  three  precious  qualities,  —  strength, 
sweetness,  and  sentiment."  —  W.  M.  Rossetti  in  the  Academy,  June  1,  1878. 

Lawsbn,  F.  Wilfrid.  (Brit.)  Brother  of  Cecil  G.  Lawson.  Began 
his  professional  career  as  a  designer  on  wood  for  the  illustrated  periodi- 
cals, working  for  some  time  on  the  staff  of  the  Graphic.  He  resides 
in  London,  and  has  exhibited  in  colors  and  black  and  white  at  the 
Royal  Academy,  Dudley  Gallery,  and  elsewhere. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  45 


"  Mr.  Wilfrid  Lawson  has  made  himself  distinctly  the  artist  of  '  The  Children  of  the 
City.'  In  past  years  he  has  shown  us  at  the  Academy  one  canvas  in  which  the  little 
street  Arabs  are  making  themselves  as  merry  as  may  be  with  shadow  figures  on  the 
walls,  and  another  in  which  a  boy  and  a  girl  of  the  same  pathetic  race  are.  looking  up 
wistfully  at  a  tree,  whose  blossoms,  guarded  by  the  iron  r  ilings  of  a  garden,  suggest,  like 
the  children's  city-bound  lives,  '  Imprisoned  Spring,'  the  title  of  the  work.  This  year 
the  artist,  exhibits  a  third  of  the  series  in  Pall  Mall.  '  Dawn '  represents  the  interior  of  a 
wretched  room  in  a  London  slum,  where  a  dying  girl,  supported  in  her  brother's  arms,  is 
lying  on  the  floor,  watching  through  the  windows  the  first  gleams  of  light  breaking  on 
the  city,  —  symbolic  of  the  heavenly  dawn  about  to  beam  upon  her  soul.  This  picture, 
like  its  predecessors,  proves  that  Mr.  "Wilfrid  Lawson  is  not  a  mere  sentimentalist,  but 
a  painter  who  is  also  a  poet."  —  Magazine  of  Art,  August,  1878. 

Lay,  Oliver  Ingraham,  A.  N.  A.  {Am.)  Born  in  the  city  of 
New  York,  1845.  A  painter  of  portraits  and  of  genre  pictures.  De- 
voted himself  to  art  in  his  early  youth  ;  studied  in  the  schools  of  the 
Cooper  Institute  and  of  the  Academy  of  Design  in  his  native  city, 
where  his  entire  professional  life  has  been  spent.  He  was  also  a  pupil 
of  Thomas  Hicks  for  three  years,  and  has  been  a  constant  exhibitor 
for  some  time  in  the  National  Academy,  of  which  he  was  made  an 
Associate  Member  in  1876.  He  was  elected  a  member  of  the  Artists* 
Fund  Society  the  same  year.  Among  his  portraits  exhibited  in  dif- 
ferent seasons  may  be  mentioned  those  of  James  Parton,  Mrs.  Eliza 
Eiddle  Field,  Mrs.  Jeremiah  Hendricks  of  Red  Hook,  N.  Y.,  John 
Rodgers  of  Albany,  1ST.  Y.,  John  Delafield,  Winslow  Homer,  C.  C. 
Coleman,  C.  C.  Griswold,  and  Miss  Fidelia  Bridges  (the  last  four 
belonging  to  the  National  Academy).  Among  his  genre  works  are, 
"The  Letter,"  "  The  Window"  (owned  by  J.  M.  Toucey),  and  "  The 
Two  Friends  "  (in  the  collection  of  John  H.  Sherwood). 

"  'The  Letter,'  by  0.  I.  Lay,  represents  a  dark-eyed,  dark -haired  girl,  sitting  by  an 
open  window,  through  which  is  seen  an  apple-orchard  in  early  bloom.  She  is  engaged  in 
writing  upon  her  lap,  in  true  feminine  fashion.  The  story  is  not  a  new  one,  but  it  is 
cleverly  told.  The  face  and  figure  are  well  and  gracefully  drawn,  the  position  is  natural 
and  unconstrained,  and  the  flesh-tints  are  admirable  The  drawing  of  the  inte- 
rior, the  bright  colors  of  the  Moorish  rug  on  the  floor,  the  little  vase  of  spring  flowers  in 
the  window,  and  the  old  chest  of  drawers  with  the  quaint  brass  knobs,  is  excellent. " — 
New  York  Arcadian,  December  15, 1877. 

Lazerges,  Jean  Raymond  Hippolyte.  (Fr.)  Born  at  Nar- 
bonne,  1817.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  David 
d' Angers  and  Bouchot.  Many  of  his  subjects  are  religious.  A  "  De- 
scent from  the  Cross  "  (1855)  is  at  the  Luxembourg  ;  another  repre- 
sentation of  the  same  subject  is  in  the  chateau  d'Eu.  "  The  Death  of 
the  Virgin  "  (1853)  was  painted  for  the  chapel  of  the  Tuileries,  and 
was  seen  at  the  Exposition  of  1867.  Lazerges  has  executed  works  at 
the  church  of  Notre  Dame  de  Bon  Secours,  near  Rouen,  at  a  chapel 
of  the  convent  of  La  Providence,  in  the  same  city,  and  the  ceiling  of  the 
theater  of  Nantes.  In  1877  he  exhibited  at  the  Salon,  "  Falma  the 
Singer  "  and  "  The  Moors  in  the  Court  of  the  Marabout  on  Friday, 
which  is  their  Sunday  ";  in  1876,  u  Caravan  of  Kabyles";  in  1875, 
"The  Resurrection,"  "  Louis  XVI.  and  Marie  Antoinette  at  Versailles," 


46       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  "  Jesus  led  to  Prison  ";  in  1874,  "  Stabat  Mater  ";  in  1873,  "  The 
Christ  of  the  Nineteenth  Century";  etc.  Lazerges  is  a  musician,  and 
has  composed  several  songs.  He  has  also  written  for  journals,  and 
published  some  books. 

Leader,  Benjamin  William,  A.  R.  A.  (Brit.)  Born  in  1831. 
Entered  the  schools  of  the  Royal  Academy  in  1854,  exhibiting  "  Cot- 
tage Children  blowing  Bubbles,"  his  first  picture,  the  same  year.  In 
1855  he  sent  "  A  Bird-Trap  "  ;  in  1857,  a  "Stream  from  the  Hills"  ; 
in  1860,  "A  Worcestershire  Lane";  in  1863,  "A  Welsh  Churclryard  "  ; 
in  1867,  "Through  the  Glen"  ;  in  1871,  "The  Stream  through  the 
Birch-Wood"  ;  in  1872,  "Wild  Wales"  ;  in  1874,  "The  Thames  at 
Streatley";  in  1875,  "The  Wetterhorn";  in  1876,  "An  English 
Hayfield  "  and  "A  November  Evening"  ;  in  1877,  "Lucerne"  and 
"  Lauterbrunnen "  ;  in  1878,  "Autumn  in  Switzerland"  and  "Sum- 
mer-Time  in  Worcestershire."    [A.  R.  A.,  in  1883.] 

"Mr.  Leader's  'Country  Churchyard'  [R.  A.,  64],  taken  apparently  at Bettws-y-Coed, 
deserves  notice  for  its  brilliancy,  and  for  the  very  truthful  style  of  its  architecture."  — 
Palgrave's  Essays  on  Art. 

lie  Blant,  Julien.  (Fr.)  Born  at  Paris.  Medal  of  the  third  class 
in  1878,  when  he  exhibited  the  "Death  of  General  d'Elbee."  In 
1877  he  exhibited  "  La  partie  de  tonneau." 

Lechesne,  Auguste.  (Fr.)  Born  at  Caen,  1819.  Chevalier  of 
the  Legion  of  Honor.  He  went  to  Paris  to  study,  and  first  attracted 
attention  by  a  frieze  which  he  executed  in  the  Maison  d'Or.  From 
this  time  he  was  constantly  employed  in  decorating  the  hotels  of  Paris. 
He  has  sent  to  the  Salons  several  works,  and  especially  excels  in  the 
representation  of  animals.    Larousse  says  :  — 

"  Lechesne  of  Caen  does  not  understand  animals  like  Barye,  but  he  models  his  sub- 
jects with  so  much  spirit  and  taste,  and  gives  them  so  much  animation  and  nicety,  that 
their  attraction  is  almost  irresistible.  It  is  not  grand  art,  but  it  is  the  genre  sculpture, 
appreciable  by  all,  attractive  and  charming." 

At  the  Salon  of  1878  he  exhibited  "  A  Dog  dying  on  the  Tomb  of 
his  Master." 

Le  Clear,  Thomas,  N.  A.  (Am.)  Born  in  Owego,  N.  Y.,  1818. 
He  displayed  a  talent  for  art  as  a  child,  and  sold  ideal  heads  painted  on 
rough  boards  to  his  neighbors  before  reaching  his  teens.  In  1832  he 
was  taken  by  his  family  to  London,  Canada,  where  he  painted  portraits, 
but  met  with  indifferent  success.  He  settled  in  New  York  in  1839,  and 
(with  the  exception  of  a  few  years  passed  in  Buffalo)  his  professional 
life  has  been  spent  in  that  city.  He  was  made  a  member  of  the  Na- 
tional Academy  in  1863.  Among  his  earlier  works  are  the  "  Marble- 
Players  "  (which  belonged  to  the  Art  Union),  the  "  Itinerant "  (in 
the  National  Academy  of  1862),  and  his  "  Young  America."  He  has 
painted  the  portrait  of  Edwin  Booth  as  Hamlet,  Gilford  and  McEntee 
the  artists,  Daniel  R.  Dickinson,  President  Fillmore,  Dr.  Vinton  (1870), 
Bayard  Taylor,  E.  W.  Stoughton  (1877),  Parke  Godwin  (at  the  Na- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  47 


tional  Academy,  1877,  and  the  Paris  Exposition  of  1878),  George 
Bancroft  (in  the  Century  Club),  and  William  Page  (in  the  Corcoran 
Gallery,  Washington).  He  exhibits  occasionally  at  the  Royal  Acad- 
emy, London,  and  the  journals  of  that  city  have  spoken  well  of  his 
works,  saying  that  they  are  among  the  best  in  the  Academy,  fine  in 
color,  graceful,  pleasing  in  tone,  with  great  individuality,  a  "  sense  of 
oneness,  caused  by  a  subtle  rendering  of  all  the  parts  in  their  just 
relation  one  with  another,"  and  that  "  they  exhibited  in  a  marked 
degree  many  of  the  rare  qualities  of  great  portraiture."   [Died,  1882.] 

"  To  the  native  facility  for  imitation ,  Le  Clear  now  unites  remarkable  power  of  charr 
acterization,  a  peculiar  skill  in  color,  and  minute  authenticity  in  the  reproduction  of 
latent,  as  well  as  superficial  personal  traits.  In  some  cases  his  tints  are  admirably  true 
to  nature,  and  his  modeling  of  the  head  strong  and  characteristic."  —  Tuckerman's 
Book  of  the  Art  ists. 

"  The  quiet,  subdued  tones  of  Le  Clear's  work  [portrait  of  Page]  in  middle  tint,  its  fine 
finish,  and  the  grave  dignity  of  the  head,  charm  every  beholder,  so  as  to  make  him  un- 
derstand why  this  noble  portrait  elicited  such  marked  praise  when  exhibited  in  the 
British  Royal  Academy.  Le  Clear  is  fortunate  in  being  so  well  represented  in  the  Cor- 
coran Gallery,  alongside  of  some  of  the  best  heads  of  Stuart,  Harding,  and  Healy."  — 
Art  Journal,  July,  1878. 

Lecomte  Du  Nouy,  Jules  Jean  Antoine.  (Fr.)  Born  at  Paris, 
1842.  Chevalier  of  the  Legion  of  Honor.  Medals  at  London  and 
Vienna.  Pupil  of  Gleyre,  Gerome,  and  Signol.  "The  Bearers  of 
Bad  News"  (1872)  is  at  the  Luxembourg.  "The  Conversion  of  the 
Galley  Slaves  by  Saint  Vincent  de  Paul "  is  at  the  church  of  the 
Trinity  at  Paris.  In  1877  he  exhibited  at  the  Salon,  "  The  Door 
of  the  Seraglio  "  and  his  own  portrait ;  in  1876,  "  Homer  Begging  "  ; 
in  1875,  "  The  Honeymoon,  Venice,  Sixteenth  Century  "  and  "  The 
Dream  of  Cosrou  "  ;  in  1874,  "  Eros  "  (at  the  Museum  of  Tours)  and 
"  The  Butchers  (Imacellaj)  of  Venice."  For  private  galleries  he  has 
painted,  "  The  Merchant  of  Pompeii,"  "  Christians  at  the  Tomb  of 
the  Virgin,"  "  The  Eepose  of  the  Scherif,"  "  Christmas  Eve  at  Jeru- 
salem," "  Chloe  at  the  Fountain,"  etc.  His  portraits  are  good.  Among 
them  is  that  of  Beranger  de  la  Drome,  for  the  Museum  of  Valence. 
His  "Invocation  of  Neptune"  (1866)  is  at  the  Museum  of  Lille. 
The  "  Love  which  Passes  "  (1869)  is  at  the  Museum  of  Boulogne. 
At  the  Salon  of  1878  he  exhibited  "  Christians  at  the  Tomb  of  the 
Virgin  at  Jerusalem  "  and  a  portrait. 

Lecomte -Vernet,  Charles-Hippolyte-Emile.  (Fr.)  Born  at 
Paris  (1821  - 1874).  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
H.  Vernet  and  Cogniet.  Made  his  debut  at  the  Salon  of  1833.  At 
the  Salon  of  1874  he  exhibited  "  Penelope  "  and  "  Almee  "  ;  in  1870, 
"  A  Young  Fellah  Girl "  and  "  A  Young  Girl  playing  with  an  Owl "  ; 
etc. 

Lee,  Frederick  Richard,  R.  A.  (Brit.)  A  native  of  Devonshire 
(1798-1879).  He  began  life  as  a  soldier,  seeing  some  active  ser- 
vice.   In  1818  he  resolved  to  devote  himself  to  art,  and  entered  the 


48       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Royal  Academy,  exhibiting  in  its  gallery  in  1824,  and  regularly  for 
nearly  fifty  years.  He  was  elected  an  Associate  of  the  Academy  in 
1834,  and  Academician  in  1838,  and  was  placed  upon  the  list  of  Hon- 
orary Retired  Academicians  in  1872.  Among  the  better  known  of 
his  earlier  works  (many  of  which  have  been  engraved)  may  be 
noted  "Showery  Weather"  (exhibited  at  the  British  Institute  in 
1834)  ;  "  Coverside,"  painted  in  1839  (in  conjunction  with  Land- 
seer)  ;  "  Evening  in  the  Meadows "  (at  the  Royal  Academy  in 
1854,  the  cattle  in  the  stream  painted  by  Thomas  Cooper,  R.  A)  ; 
and  a  "  River  Scene,"  at  the  Royal  Academy  in  1855  (in  which  also 
the  cattle  are  Cooper's),  all  of  which  belong  to  the  National  Gal- 
lery. His  "  Distant  View  of  Windsor  "  and  "  Gathering  Seaweed  " 
are  in  the  Sheepshanks  Collection.  In  1856  he  sent  to  the  RoyaJ 
Academy,  "  Breakwaters  at  Plymouth  "  ;  in  1858,  "  The  Bay  of  Bis- 
cay "  ;  in  1860,  "  Summer "  ;  in  1865,  "  Garibaldi's  Residence  at 
Caprera  "  ;  in  1867,  "  The  Land  we  Live  in  "  ;  in  1868,  "  Far  from 
the  Busy  Haunts  of  Men  "  ;  in  1869,  "  Morning  in  the  Meadows  "  ; 
in  1870,  "  The  Land's  End  and  Longships  Lighthouses,"  and  others, 
since  which  his  works  have  not  been  seen  at  the  Royal  Academy. 

Leech,  John.  (Brit.)  (1817-1864.)  Was  educated  at  the  Char- 
ter House  School  in  London,  and  was  also  a  pupil  for  some  time  in  the 
Royal  Academy,  where  he  exhibited  a  few  pictures  of  a  genre  charac- 
ter, which  were  in  no  way  remarkable.  His  sketches  in  "  Bell's  Life 
in  London  "  were  the  first  of  his  works  which  attracted  attention  to 
him  as  an  artist.  He  was  connected  with  Punch  as  early  as  1841, 
remaining  upon  the  active  staff  of  that  journal  for  twenty-three  years, 
and  receiving  for  his  services,  it  was  estimated,  £  40,000.  Many  of  his 
sketches,  enlarged  and  colored,  were  exhibited  in  London  in  1861, 
drawing  crowds  of  visitors  and  realizing  some  £  5,000.  The  litho- 
graphs of  these  were  very  popular  and  extensively  sold,  as  were 
his  many  contributions  to  Punch,  when  collected  in  book  form. 
Among  the  great  number  of  works  illustrated  by  Leech  are,  "  Jack 
Bragg,"  by  Theodore  Hook  ;  several  novels  by  Albert  Smith  ;  "  The 
Story  of  a  Feather,"  by  Douglas  Jerrold ;  "  Mrs.  Caudle's  Curtain 
Lectures  "  ;  "  The  Comic  Latin  Grammar  "  ;  "  The  Comic  English 
Grammar  " ;  "  The  Comic  History  of  England  "  ;  "  The  Comic  His- 
tory of  Rome  "  ;  Christmas  numbers  of  the  Illustrated  London  News ; 
Bentley's  "  Miscellany  "  for  many  years  ;  "  Jack  Hinton  "  ;  "  Punch's 
Pocket-Book,"  up  to  1864  ;  the  earlier  volumes  of  Once  a  Week  ; 
"  Young  Troublesome  "  ;  "  Master  Jacky  in  Love  "  ;  "  The  Book  of 
British  Song  " ;  "  Puck  on  Pegasus  ";  Blaine's  "  Encyclopaedia  of  Brit- 
ish Sports  "  ;  "  Paul's  Dashes  of  American  Humor  "  ;  "  Life  of  a  Fox- 
hound "  ;  "  The  Christmas  Carol "  ;  "  The  Cricket  on  the  Hearth" ; 
"  The  Chimes." 

"  John  Leech  is  different  from  all  of  these,  and  taken  as  a  whole  surpasses  them  all, 
even  Cruikshank  ;  and  seats  himself  next,  though  below,  William  Hogarth.  Well  might 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  49 


Thackeray,  in  his  delightful  notice  of  his  friend  and  fellow-Carthusian  in  the  Quar- 
terly, say,  '  There  is  no  blinking  the  fact  that  in  Mr.  Punch's  Cabinet  John  Leech  is  the 
right-hand  man.  Fancy  a  number  of  Punch  without  Leech's  picture  !  What  would  you 
give  for  it  ?'  This  was  said  ten  years  ago  (1852).  How  much  more  true  is  it  now  !  . .  .  . 
It  is  this  wholesomeness,  and,  to  use  the  right  word,  this  goodness,  that  makes  Leech 
more  than  a  drawer  of  funny  pictures,  more  even  than  a  great  artist.  It  makes  him  a 
teacher  and  an  example  of  virtue  in  its  widest  sense."— Dr.  John  Brown,  in  Spare 
Hours. 

"  Nothing  was  more  characteristic  of  Leech,  and  nothing  was  more  enjoyable  in  his 
works,  than  the  evident  genial  sympathy  with  which  he  entered  into  every  phase  of  the 
many-sided  English  life  of  the  hunting-field,  the  seaside,  the  ballroom,  the  drawing- 
room,  the  nursery  John  Leech  had  also  a  fine  appreciation  of  English  scenery, 

and  in  those  bits  of  it  which  he  introduced  into  his  sketches  he  did  it  full  justice,  while 
he  elevated  by  their  artistic  completeness  the  character  of  the  sketches. "  —  Rossetti. 

"  Very  few  artists,  very  few  men  of  any  profession,  have  been  privileged  to  give  the 
amount  of  pleasure  which  Leech  conferred  in  very  different  quarters,  and  on  very  differ- 
ent ages  To  the  infinite  honor  of  Leech  and  of  the  promoters  and  proprietors 

of  Punch,  it  was  pleasure  of  the  most  innocent  description."  —  Mrs.  Tytler's  Modem 
Painters. 

"  His  [Dickens']  opinion  of  Leech,  in  a  word,  was,  that  he  turned  caricature  into 
character  ;  and  would  leave  behind  him  not  a  little  of  the  history  of  his  time  and  its 

follies  sketched  with  inimitable  grace  To  represent  female  beauty  as  Mr.  Leech 

represents  it,  an  artist  must  have  a  delicate  perception  of  it ;  and  the  gift,  of  being  able 
te  realize  it  to  us  with  two  or  three  slight,  sure  touches  of  the  pencil.    This  power  Mr. 

Leech  possesses  in  an  extraordinary  degree  His  wit  is  good-natured,  and  always 

the  wit  of  a  gentleman. "  —  Forster's  Life  of  Dickens,  Vol.  II.  Chap.  XVIII. 

"  The  out-door  sketcher  will  not  fail  to  remark  the  excellent  fidelity  with  which  Mr. 
Leech  draws  the  backgrounds  of  his  little  pictures.  The  homely  landscape,  the  sea,  the 
winter  wood  by  which  the  huntsmen  ride,  the  light  and  clouds,  the  birds  floating  over- 
head, are  indicated  by  a  few  strokes  which  show  the  artist's  untiring  watchfulness  and 

love  of  nature  No  man  has  ever  depicted  the  little  '  snob  '  with  such  delightful 

touch.  Leech  fondles  and  dandles  this  creature  as  he  does  the  children.  To  remember 
one  or  two  of  these  gents  is  to  laugh."  —  Thackeray,  in  the  London  Times,  June  21, 1862. 

Lefebvre,  Charles.  (Fr.)  Born  at  Paris,  1805.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Gros.  At  the  Salon  of  1877  he  exhibited 
"  Daimio,  —  Costume  of  the  Court  of  Japan"  ;  in  1816,  "  The  Separa- 
tion of  SS.  Peter  and  Paul  at  the  Moment  when  they  were  led  to  their 
Martyrdom  "  ;  in  1875,  "  St.  Anne  instructing  the  Virgin  Mary  "  ; 
in  1873,  "  Lucretia,"  etc.  Charles  Lefebvre  has  also  painted  some 
portraits.    [Died,  1882.] 

Lefebvre,  Jules  Joseph.  (Fr.)  Born  at  Tournan,  1836.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Leon  Coguiet.  He  gained  the 
grand  prix  de  Rome  in  1861,  the  subject  being  "  The  Death  of  Priam." 
His  "  Nymph  and  Bacchus  "  (1866)  is  in  the  Luxembourg.  In  1877 
he  exhibited  at  the  Salon,  "  Pandora  "  ;  in  1876,  "  Mary  Magdalene  " 
and  a  portrait  ;  in  1875,  "  Chloe  "  and  a  portrait ;  in  1874,  a  portrait 
of  the  Prince  Imperial  ;  in  1872,  "  The  Grasshopper "  ;  in  1870, 
"  Truth  "  and  a  portrait,  etc.  At  the  Latham  sale,  New  York,  1878, 
"  The  Grasshopper  "  (75  by  35)  sold  for  $  2,950.  At  the  Salon  of 
1878  he  exhibited  "  Mignon  "  and  a  portrait  of  Mme.  . 

Lefuel,  Hector  Martin.    (Fr.)    Born  at  Versailles,  1810.  Com- 

VOL.  n.  3  D 


50       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


mander  of  the  Legion  of  Honor.  Member  of  the  Institute.  This 
architect  was  a  pupil  of  Huyot  and  l'^cole  des  Beaux-Arts.  He 
gained  the  grand  prix  de  Rome  in  1839.  He  was  architect  of  the 
chateau  of  Meudon,  also  of  that  of  Fontainebleau,  and  in  1854  re- 
placed Visconti  at  the  Louvre.  In  1855  he  was  much  occupied  with 
the  Exposition.  He  was  soon  after  appointed  Chief  Architect  of  the 
Louvre  and  the  National  Palaces.  He  is  to  be  noticed  for  his  embel- 
lishments of  the  Tuileries.  In  1867  he  was  a  member  of  the  Im- 
perial Commission  for  the  Exposition,  and  in  1873  was  made  a 
member  of  the  Superior  Commission  of  International  Expositions. 
He  made  one  of  the  jury  at  Vienna.  He  is  also  a  member  of  the 
Superior  Commission  of  the  Fine  Arts.  He  was  President  of  the 
Institute  in  1875.    [Died,  1881.] 

Legros,  Alphonse.  (Fr.)  Born  at  Dijon,  1837.  Slade  Professor 
in  University  College,  London.  Medals  in  1867  and  '68.  Pupil  of 
M.  Lecoq  de  Boisbaudran.  This  artist  had  no  assistance  in  his  educa- 
tion, and  encountered  many  hardships  before  he  was  able  to  send  a 
lecture  to  the  Salon  ;  it  was  a  portrait  of  his  father,  exhibited  in  1857. 
In  1875  M.  Malassis  published  an  account  of  Legros  and  his  works, 
from  which  we  give  an  extract :  — 

"  As  it  always  happens,  a  literary  man  was  the  first  to  take  notice  of  him.  M.  Champ- 
fleury,  —  who  some  years  before  had  pointed  out  MM.  Gustave  Courbet  and  Francois 
Bonvin,  —  with  his  discriminating  curiosity  always  on  the  alert,  had  remarked  in  the 
Salon  of  1857  the  portrait  of  a  man  (the  artist's  father),  painted  strongly  and  simply,  and 
signed  with  the  unknown  name  Legros.  He  wished  to  become  acquainted  with  the 
painter  ;  fancying  him  as  an  honest,  middle-aged  artist,  obscure,  deserving,  and  occu- 
pied in  the  production  of  modest  work,  he  found,  to  his  surprise,  a  young  man  under 
twenty,  full  of  fire  and  verve,  already  master  of  a  style  at  once  solid  and  subtle,  engaged 
with  justifiable  self-reliance  upon  numerous  works  in  course  of  execution  or  preparation. 
The  kind  visit  of  the  celebrated  writer  remains  as  the  pleasantest  recollection  of  the 
painter's  early  days.    It  was  like  the  first  smile  of  fame." 

In  1859  "  The  Angelus  "  by  Legros  attracted  much  attention,  es- 
pecially from  artists  ;  it  was  purchased  by  an  English  amateur  artist, 
Mr.  Seymour  Haden.  Legros  has  resided  since  1863  in  England, 
where  he  has  received  the  honor  and  patronage  which  he  failed  to 
obtain  in  Paris  ;  and  this  consideration  has  at  length  extended 
itself  to  his  native  country,  as  will  be  seen  by  the  fact  that  his  "  Ex- 
Voto  "  has  been  purchased  for  the  Gallery  at  Dijon,  "  The  Stoning  of 
St.  Stephen "  for  the  Gallery  at  Avranches,  "  Monks  at  Prayer " 
for  the  Gallery  at  Alencon,  a  drawing  of  "St.  Sebastian"  for  the 
Gallery  at  Lille,  and  the  "Amende  Honorable"  (1868)  for  the 
Luxembourg.  The  works  of  this  artist  are  more  frequently  ex- 
hibited in  England  than  in  France.  Many  of  them  go  directly  from 
his  studio  to  the  purchasers.  The  following  are  among  his  more 
important  pictures  :  "  The  Pilgrimage,"  at  the  Liverpool  Gallery  ; 
"  The  Spanish  Cloister  "  and  the  "  Benediction  of  the  Sea,"  at  Mr. 
Eustace  Smith's  ;  "  The  Baptism,"  belonging  to  Sir  George  Howard. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  51 


"  The  Coppersmith,"  belonging  to  Mr.  Ionides,  was  at  the  Salon  of 
1875,  together  with  the  "  Demoiselles  du  Mois  de  Marie,"  belonging 
to  M.  Mieville.  Legros  has  etched  a  large  number  of  plates,  and  his 
works  taken  altogether  are  very  numerous.  At  the  Grosvenor  Gallery 
Exhibition,  1877,  he  exhibited  "  Four  Studies,  Portraits"  (executed  in 
two  hours  each)  before  the  pupils  of  the  artist  in  the  Slade  School, 
a  Portrait  of  Thomas  Carlyle,  "  A  Landscape,"  "  The  Coppersmith," 
"  The  Spanish  Cloister,"  and  "  The  Baptism."  (The  last  three  are 
mentioned  above.)  In  1878  he  sent  to  the  Grosvenor  ten  studies  and 
finished  paintings. 

"  France  is  a  country  of  very  strange  contrasts,  and  this  contrast  is  noticeable  amongst 
others,  that  whilst  many  French  people  spoil  themselves  by  the  utmost  extreme  of  anno- 
tation, many  other  French  people  are  just  as  remarkable  for  the  entire  absence  of  affec- 
tation ;  so  that  their  simplicity  is  more  simple  than  ours,  and  their  directness  more 
direct.  This  contrast  has  been  very  strikingly  manifested  in  the  French  art  of  the  last 
half-century.  Side  by  side,  in  the  public  exhibitions,  with  art  of  the  most  pretentious 
extravagance,  grew  up  another  school  of  art  which  discarded  pretension  altogether. 
Never  was  any  realism  so  remarkable  for  simplicity  of  purpose  as  that  of  the  genuine 
French  rustic  school.  I  do  not  mean  the  realism  of  the  revolutionary  realists,  who  called 
themselves  so,  but  of  that  school  which  was  entirely  emancipated  from  classical  author- 
ity, and  used  its  liberty  for  the  plain  expression  of  its  sentiment,  not  for  the  illustra- 
tion of  a  theory.  These  artists  were  neither  influenced  by  the  authority  of  the  classics 
nor  by  the  force  of  the  reaction  against  them  ;  they  worked  in  a  calm  corner  of  their 
own,  safe  from  the  flux  and  reflux  of  the  great  currents  of  their  time.  M.  Legros  is  one 
of  them  ;  but  instead  of  going  among  the  oxen  and  the  laborers  in  the  fields,  he  prefers 
the  solemnity  of  the  village  church,  or  the  cathedral  aisle,  or  the  quiet  monastery  ;  and 
there  he  will  watch  his  models,  who  know  not  that  they  are  watched,  and  who  reveal  to 
him  the  secret  of  their  meditations."  —  Hamerton,  in  The  Portfolio,  August,  1873. 

"  Bold  and  strong  in  his  style,  sometimes  even  to  brutality,  he  is  a  proof  that  the 
artist  never  ceases  to  be  true  ;  his  first  attempts  testified  precisely  to  that  conscientious 

research,  to  that  obstinate  labor  which  he  brings  to  the  interpretation  of  nature  

M.  Legros  has  never  flattered  either  the  taste  or  the  tendencies  of  his  time ;  it  is  thus 
that  he  has  remained  himself,  and  that  in  each  one  of  his  impressions  he  has  subordi- 
nated the  form  to  an  original  and  powerful  thought. "—  Charles  Guellette,  Gazette  des 
Beaux-Arts,  April,  1876. 

Leharivel-Durocher,  Victor  Edmond.  (Fr.)  Born  at  Chanu, 
1816.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Belloc,  Barney, 
and  A.  Dumont.  His  "  To  Be  and  to  Seem  to  Be"  (1861)  is  at  the 
Luxembourg.  Among  his  works  are,  "  A  Group  of  Angels,"  on  the 
tomb  of  Archbishop  Pierres  in  the  church  of  Saint-Sulpice  ;  "  Saints 
Genevieve  and  Theodechilde,"  for  the  church  of  Sainte-Clothilde  at 
Paris  ;  monument  to  the  three  brothers  Eudes,  for  the  city  of  Argen- 
tan  ;  "  Glory,"  for  the  court  of  the  Louvre  ;  a  statue  of  Visconti  for 
his  tomb  ;  "  St.  Mary  Magdalene,"  for  the  church  of  Saint- Augus- 
tin  at  Paris  ;  "  Tragedy  "  and  "  Comedy  "  (bas-reliefs  in  stone),  for 
the  grand  staircase  of  the  Theatre  Francais,  etc.  The  list  is  much  too 
long  to  be  given  here.  His  works  are  to  be  seen  in  many  cities,  and 
he  has  also  executed  numerous  portrait  busts  and  statues  as  well  as 
other  sculptures  for  private  houses.  To  the  Salon  of  1878  he  con- 
tributed a  marble  statue  of  "  St.  Theodechilde."    [Died,  1878.] 


52 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Lehmann,  Charles  Ernest  Rodolphe  Henri.  (Ger.)  Born  at 
Kiel,  1814  (now  a  naturalized  citizen  of  France).  Member  of  the 
Institute.  Officer  of  the  Legion  of  Honor.  Professor  at  l'Ecole  des 
Beaux-Arts.  Member  of  the  Superior  Council  of  the  Fine  Arts. 
Pupil  of  his  father  and  of  Ingres.  His  subjects  are  religious  and  his- 
torical, and  he  has  taken  many  motives  from  modern  poets.  His 
reputation  as  a  portrait-painter  is  great.  His  "  Grief  of  the  Oceanides 
at  the  Foot  of  the  Rock  to  which  Prometheus  was  chained  "  (1850)  is 
at  the  Luxembourg.  Among  his  works  are,  "  An  Assumption  of  the 
Virgin  "  for  the  church  of  Saint-Louis  at  Paris,  decorative  works  at 
the  church  of  Saint-Merri,  at  the  chapel  of  the  Institute  for  the  Young 
Blind,  a  chapel  at  the  church  of  Saint-Louis-en-l'Ile,  at  the  church 
of  Sainte-Clothilde,  at  the  palaces  of  the  Luxembourg  and  of  Justice, 
etc.  His  portraits  are  numerous,  and  of  notable  men  and  women. 
We  may  also  mention  his  "Arrival  of  Sarah  at  the  Home  of  the  Young 
Tobias,"  "The  Education  of  Tobias,"  "Jeremiah,"  "Venus,"  "Undine,' 
"  Hamlet,"  "  Ophelia,"  "  The  Dream  of  Love,"  etc.    [Died,  1882.] 

"  He  began  with  the  strongest  men  of  the  modern  French  school,  —  with  Ingres, 
Delacroix,  Scheffer,  and  Delaroche,  —  and  he  has  always  manifested  himself  at  the  level 
of  the  most  conscientious  art  and  the  best  criticism.  He  comes  directly  from  Ingres 
by  his  style,  and  with  Ingres  he  made  the  study  of  the  brin  his  chief  care.  His  point  of 
departure  from  the  spirit  of  Ingres'  work  is  in  his  sentiment,  which  establishes  his  re- 
lation with  Scheffer.  He  is  not  a  typical  artist,  but  for  that  very  reason  far  less  likely 
to  provoke  the  hostility  and  depreciation  which  always  accompany  the  development  of  a 
representative  and  pronounced  talent.  He  is  so  studied,  so  conscientious,  —  he  is  such 
a  fine  draughtsman,  and  so  finished  in  his  manner,  —  that  he  has  never  been  exposed  to 
the  criticism  which  made  a  noise  of  words,  words,  words,  about  the  great  name  of  Dela- 
croix, and  left  the  correct  and  interesting  Delaroche  undisturbed.  Lehmann  and  Dela- 
roche were  fellow-students  under  Ingres  ;  but  in  Lehman  and  Ingres  classicism  was 
grafted  on  German  mysticism,  and  it  is  this  union  of  the  positive  classic  with  the  poetic 
sentiment  of  the  North  which  makes  many  of  his  works  as  strange  as  they  are  lovely. 
Lehmann  often  gleaned  after  Delacroix  and  Scheffer.  He  followed  both  in  German  and 
English  poetry,  painting  a  '  Hamlet '  after  Delacroix,  and  painting  a  '  Mignon  '  after 
Scheffer.  His  1  Hamlet '  is  described  as  elegant  and  contemplative.  Greek  trage- 
dies and  myths  and  Jewish  and  Catholic  legends  have  afforded  subjects  to  this  most  ac- 
complished and  indefatigable  artist.  His  portraits  are  celebrated,  and  rival  those  by 
Ingres  and  Flandrin.  His  portrait  of  the  Princess  Belgiojosio  is  one  of  the  most  re- 
markable of  modern  portrait  studies,  and  has  been  characterized  as  a  striking  and  studied 
work.  But  color  is  so  little  sought  for,  and  so  little  felt  by  the  painter,  that  the  effect  of 
the  head  is  described  as  unreal,  — as  a  head  in  moonlight  or  as  a  scene  in  dreams, — 
and  it  is  on  this  side  of  elegant  and  exquisite  fantasie  that  Henri  Lehmann  has  been  at 
once  the  most  charming  artist,  while  to  some  he  has  seemed  feeble  in  his  hold  upon 
nature.  His  portrait  of  Liszt  is  equally  celebrated  with  his  portrait  of  the  Princess 
Belgiojosio,  and  ranks  with  Flandrin's  heads.  It  has  been  called  '  a  very  rare  creation, 
and  surprisingly  beautiful,'  by  one  of  the  best  French  critics.  Of  late  years,  Lehmann's 
style,  formed  in  Rome  under  Ingres,  has  changed  somewhat  ;  it  has  lost  its  pallor  and 
strangeness,  — the  charm  of  his  work  to  some  of  his  admirers,  —  and  has  become  suf- 
fused with  color.  Edmond  About  says  it  is  now  warm,  like  the  best  examples  of  Leo- 
pold Robert.  But  we  may  add  that  Robert  was  hardly  a  colorist,  and  that  what  About 
calls  warmth  a  Venetian  probably  would  call  rankly  hot."  —  Eugene  Benson,  Appletons' 
Art  Journal,  February  26,  1870. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  53 


Lehmami,  Rudolf.  (Ger.-Brit.)  Born  near  Hamburg,  1819. 
Son  of  a  miniature-painter,  from  whom  lie  inherited  his  taste  for  art 
and  received  his  first  instructions,  and  brother  of  the  preceding. 
Went  to  Paris  in  1834,  studying  for  two  years,  and  spending  a  like 
period  in  Munich,  where,  for  a  time,  he  was  a  pupil  of  Kaulbach. 
In  1839  he  went  to  Rome,  in  which  city  he  has  passed  many  winters, 
sending  to  the  Paris  Salon  of  1841  a  picture  for  which  he  received  a 
gold  medal.  He  turned  his  attention  to  the  painting  of  the  figures 
of  Italian  women  with  considerable  success,  and  won  the  praise  and 
friendship  of  Thorwaldsen,  Ary  SchefFer,  Delaroche,  and  other  famous 
artists.  He  went  to  England  for  the  first  time  in  1850,  making 
many  subsequent  visits  before  he  finally  settled  there  in  1866. 
Among  his  early  works  are,  "  Sixtus  Quintus  blessing  the  Pontine 
Marshes"  (in  the  Paris  Salon  of  1847,  and  now  in  the  Museum  of 
Lille),  "St.  Sebastian,"  "St.  Cecilia,"  "Haidee,"  "Graziella"  (for 
which  be  received  the  gold  medal  in  Paris  in  1854),  "  Early  Morning 
in  the  Pontine  Marshes  "  (R.  A.,  1860),  "Tasso  returning  to  Sorrento," 
"  Foundling  Hospital,  Rome,"  and  "  A  Roman  Serenade  "  (belonging 
to  the  Prince  of  Wales).  Since  he  has  lived  in  England  he  has  sent 
to  the  Royal  Academy  "  The  Fortune-Teller  "  and  "  The  Favor  of  an 
Answer  requested,"  in  1868;  "After  the  Fire,"  in  1869;  "Out  of 
the  World,'5  in  1870  ;  "  May  we  come  in  1 "  (portraits  of  his  own 
family),  in  1871  ;  "Confessions,"  in  1872;  "Ave  Maria,"  in  1874; 
"Alma  and  her  pet  Kittens"  and  "Robert  Browning,"  in  1875  ; 
"  After  the  Sitting,"  in  1876 ;  and  many  portraits. 

*  Mr.  Lehmann's  works  now  take  a  prominent  place,  as  they  deserve,  in  the  exhibi- 
tions of  the  Royal  Academy.  It  is  not  difficult  to  recognize  in  them  the  influence  of  his 
continental  training,  and  especially  of  his  long  residence  in  Rome.  His  figures  always 
show  the  feeling  they  are  intended  to  express,  while  his  coloring  is  rich  yet  chastened." 
—  Art  Journal,  June,  1874. 

Lehoax,  Pierre-Adrien-PascaL  (Fr,)  Born  at  Paris.  Medals 
in  1873  and  '74.  Prix  du  Salon,  1874.  Pupil  of  Cabanel.  At 
the  Salon  of  1877  he  exhibited  "St  Stephen,  Martyr";  in  1876, 
"  The  Constellation  of  the  Bouvier  "  ;  in  1874,  "  St.  Lawrence,  Mar- 
tyr," now  at  the  Luxembourg.  At  the  Salon  of  1878  he  exhibited 
"  Surprise  n  and  "  The  Wrestlers." 

Leibl,  Wilhelm.  (Ger.)  Born  at  Cologne,  1844.  Studied  in 
Munich  and  Paris.  Medal  in  1870.  His  works  can  be  seen  in  the 
Pinakothek  of  Munich,  where  are  placed  the  works  of  the  so-called 
new  school  to  which  he  belongs.  To  the  Paris  Exposition  of  1878 
he  sent  "  Some  Peasants  "  and  a  portrait. 

"Leibl  reveals  in  painting  the  rough-featured,  roughly  clad  Bauerein,  or  peasants  of 
the  Bavarian  hamlets,  and  the  results  are  sometimes  quite  marvelous.  He  can  also 
give  you,  if  he  chooses,  the  delicate  beauty  of  a  lady's  hand  with  a  truth  to  nature  that 
throws  enthusiastic  young  artists  into  raptures.  But  he  does  not  often  so  choose,  and 
this  leads  us  reluctantly  to  say  that  the  essential  coarseness  of  his  character  prevents 
him  from  being  as  great  an  artist  as  his  abilities  might  otherwise  have  made  him.  The 


54       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


greatest  artists  generally  combine  with  strength  a  certain  refinement,  apparent  in  their 
works,  if  not  in  their  manners.  Beauty  in  the  ordinary  sense  of  the  term  has  no  attrac- 
tions for  Leibl.  Even  amidst  the  homely  uncouthness  of  German  peasantry  handsome 
men  and  comely  maidens  are  to  be  found.  He  seems  to  go  out  of  his  way  to  give  us  the 
most  repulsive  specimens  of  both  sexes  that  he  can  find."  —  Benjamin's  Contemporary 
Art  in  Europe.. 

Leighton,  Frederick,  K.  A.  {Brit.)  Member  of  the  Academy  of 
Florence.  Corresponding  Member  of  the  Institute  of  France.  Born 
at  Scarboro',  1830.  Studied  drawing  as  a  lad  in  Kome.  Student 
of  the  Royal  Academy  of  Berlin  in  1845,  and  studied  later  in  Flor- 
ence, Brussels,  Paris,  Frankfort,  and  Rome.  He  first  exhibited,  in 
England,  Cirnabue's  Madonna  carried  through  the  Streets  of  Flor- 
ence "  (R.  A.,  1855),  which  attracted  great  attention  in  London,  and 
was  purchased  by  the  Queen.  He  exhibited  his  "  Triumphs  of 
Music,"  in  1856  ;  "  Sunrise,  Capri,"  in  1860  ;  "  Star  of  Bethlehem," 
in  1862  ;  "  Girl  feeding  Peacocks,"  in  1863  ;  "  Orpheus  and  Eury- 
dice,"  in  1864  ;  "  David  "  and  "  The  Widow's  Prayer,"  in  1865  ;  "  The 
Painter's  Honeymoon,"  in  1866  ;  "  Venus  disrobing  for  the  Bath  " 
and  the  "  Spanish  Dancing-Girl,"  in  1867  ;  "  Jonathan's  Token  to 
David,"  in  1868.  He  was  elected  Associate  of  the  Royal  Academy  in 
1865,  and  Academician  in  1869,  when  he  contributed  "  Electra  at  the 
Tomb  of  Agamemnon"  and  "  St.  Jerome"  (his  diploma  work).  In  1871 
he  exhibited  "Hercules  wrestling  with  Death";  in  1872,  "After 
Vespers";  in  1873,  "Weaving  the  Wreath"  and  "The  Industrial 
Arts  of  Peace'  ;  in  1874,  "Old  Damascus";  in  1875,  "Little  Fa- 
tima"  ;  in  1876,  "The  Daphnephoria "  and  "Teresina";  in  1877, 
"  The  Music-Lesson,"  "  Study,"  and  "  An  Athlete  strangling  a  Python" 
(in  bronze).  This  last  was  secured  by  the  Ajcademy  authorities  for 
2,000  guineas,  under  the  Chantrey  Bequest,  and  was  pronounced  by. 
the  London  Art  Journal  (August,  1877),  "  nobly  classic  in  feeling, 
yet  full  of  such  realistic  details  as  modern  anatomical  knowledge  de- 
mands." Mr.  Leighton  has  recently  (November,  1878)  been  elected 
President  of  the  Royal  Academy.  He  has  been  knighted  by  the 
Queen. 

"  The  '  Dante  in  Exile '  [R.  A.,  1864]  is  a  piece  of  refined  drawing  (with  some  little  man- 
nerism, perhaps,  in  the  proportions),  and  of  carefully  studied  attitude,  and  has  little  to 
fear  from  English  rivalry.  The  subject  was  a  noble  one  to  attempt,  and  we  are  glad 
that  Mr.  Leighton  had  the  courage  to  undertake  it."  —  Palgrave's  Essays  on  Art. 

"Frederick  Leighton  is  distinguishing  himself  in  the  treatment  of  classical  subjects 
as  well  as  portraiture.  Such  drawing  of  the  human  figure  divine  as  in  '  Daphnephoria ' 
is  rarely  excelled."  —  Benjamin's  Contemporary  Art  in  Europe. 

"  Leighton's  young  naked  athlete,  with  his  limbs  separated  and  firmly  fixed  on  the 
ground,  struggles  with  a  serpent  which  is  entwined  about  one  of  his  haunches.  With 
one  arm  behind  he  preserves  his  body  from  the  danger  of  the  formidable  clasp,  while 
with  the  other  in  front  of  him  he  throws  out  and  holds  at  a  distance  the  terrible  head, 
grasping  the  neck  with  his  strong  hand.  The  general  outline  is  grand,  and  it  is  a  beau- 
tiful classic  study,  such  as  one  sees  in  the  drawings  of  the  same  artist. "  —  Anatole  de 
Montaiglon,  Gazette  des  Beaux-Arts,  July,  1878. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


55 


Leisser,  Martin  B.  (Am.)  Born  in  Pittsburg,  Pa.,  1845.  He 
went  to  Europe  in  1868,  studying  under  Carl  Otto  in  Munich.  In 
1869  be  entered  tbe  Royal  Academy  of  Bavaria,  receiving  corrections 
from  Piloty,  Scbwind,  and  others.  He  remained  in  Munich  until 
1871,  when  he  returned  to  Pittsburg,  where  his  professional  life  has 
since  been  spent.  Among  his  works  are  portraits  of  Francis  Mur- 
phy, Rev.  Carl  Lorch,  Col.  Henry  Hays,  and  others  ;  and  a  picture 
entitled  "  The  Crusaders,"  painted  in  1875,  which  was  stolen  in  1878 
at  an  auction  sale  in  Philadelphia. 

Leitch,  W.  L.  (Brit.)  Born  in  Glasgow,  studying  there  under 
Knox.  He  has  been  for  many  years  a  resident  of  London  and  mem- 
ber of  the  Institute  of  Painters  in  Water-Colors,  of  which  society  he 
was  elected  Vice-President,  succeeding  Louis  Haghe  in  1870.  He  was 
at  one  time  teacher  of  painting  to  Queen  Victoria,  and  has  furnished 
illustrations  for  many  well-known  books.  Among  his  water-color 
drawings  are,  "  Peat  Moor  near  Balmoral,"  "  On  the  Teviot,"  "  Even- 
ing," "  Distant  View  of  Creffel,  Dumfrieshire,"  "  The  Valley  of  the 
Tweed  from  Berwick  Castle,"  "  Lago  Maggiore,"  "  Murano  near 
Venice,"  etc.  At  the  Loan  Exhibition  at  Glasgow  in  1878  were  his 
"Bethlehem,"  "Church  of  the  Holy  Sepulcher,"  "Highland  Raid," 
and  "Windsor  Castle."    [Born,  1804.    Died,  1883.] 

lie  Jeune,  Henry,  A.  R.  A.  (Brit.)  Born  in  London,  1820. 
Entered  the  schools  of  the  Royal  Academy  at  the  age  of  fourteen. 
In  1841  he  gained  the  gold  medal  for  historical  painting,  his  subject 
being  "  Samson  bursting  his  Bonds,"  exhibited  at  the  British  Insti- 
tute in  1842.  He  first  exhibited  at  the  Royal  Academy,  in  1840, 
"  Joseph  interpreting  the  Dream  of  Pharaoh's  Butler."  In  1845  he 
was  appointed  Master  of  the  School  of  Design  ;  in  1848,  Curator  of 
the  Royal  Academy  School  of  Painting.  Among  his  early  works  are, 
"  Ruth  and  Boaz,"  in  1845  ;  "  Lear  and  Cordelia,"  in  1849  ;  "  The 
Sermon  on  the  Mount,"  in  1851  ;  "  The  Vision  of  Queen  Catherine," 
in  1857  ;  "  The  Sisters  of  Lazarus,"  in  1861  ;  and  in  1863  (when  he 
was  elected  Associate  of  the  Royal  Academy),  "  Early  Flowers."  In 
1864  he  exhibited  "  The  Wounded  Robin"  ;  in  1867,  "  The  Ride"  ; 
in  1869,  "Rather  Shy"  ;  in  1872,  "Great  Expectations"  ;  in  1874, 
"  Innocence "  ;  in  1875,  "  A  Bite "  and  "  My  Little  Model "  ;  in 
1876,  "Cinderella"  ;  in  1877,  "Music"  ;  in  1878,  "The  Low-Born 
Lass  "  and  "Spring  Flowers." 

"The  best  performance  ever  exhibited  by  Henry  Le  Jeune  is  'Much  Ado  about 
Nothing '  [R.  A.,  1873],  a  fishing-party  of  three  children  seated  catching  minnows  on  an 
old  river  sluice.  The  color,  the  grouping,  the  execution,  and  the  surroundings  of  this 
small  company  entitle  it  to  rank  among  the  most  beautiful  pieces  of  art  of  its  kind 
that  have  ever  been  produced."  —  Art  Journal,  June,  1873. 

Le  Keux,  Henry.  (Brit.)  (1787-1869.)  Executed  a  great 
number  of  plates  ;  among  others,  "  Summer  Lake  "  (after  Turner), 
"  Venice"  (after  Prout),  "Embarkation  of  St.  Ursula"  (after  Claude), 
and  illustrations  for  Britton's  "  Cathedrals,"  Rogers'  poems,  "  The 


56       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Beauties  of  England  and  Wales,"  etc.  He  retired  from  active  work 
in  his  profession  about  1840. 

Leland,  Henry.  (Am.)  Born  at  Walpole,  Mass.  (1850-1877). 
Taken  as  a  child  to  Boston.  He  showed  a  talent  for  drawing  at 
an  early  age,  but  received  no  instruction  in  art  in  America,  although 
as  an  amateur  he  painted  several  creditable  portraits.  He  was  en- 
gaged in  mercantile  pursuits  in  Boston  until  1874,  when  he  resolved 
to  become  an  artist  by  profession,  and  went  to  Paris,  entering  the 
studio  of  Bonnat.  Here  his  progress  was  so  rapid  that  in  one  y  ear 
from  the  commencement  of  his  studies  he  sent  a  portrait  to  the  Salon 
(1875)  which  was  accepted.  In  the  summer  of  1875  he  visited  Boston, 
when  he  painted  portraits  of  his  father  and  mother,  which  were  sent 
to  the  Centennial  Exhibition  in  1876.  He  continued  in  Bonnat's  school 
of  drawing  after  his  return  to  Paris,  occupying  a  studio  of  his  own  for 
painting,  and  devoting  himself  closely  to  his  profession.  To  the  Salon 
of  1876  he  sent  a  full-length  portrait  of  Mile.  D'Alembert,  daughter 
of  Count  D'Alembert,  which  was  highly  praised  by  the  Paris  press. 
To  the  Salon  of  1877  he  sent  "  Italian  Girl  "  and  "Chevalier,  Time 
of  Henry  III."  One  of  his  latest  productions,  and  probably  his 
best  work,  "  Expectation,"  was  painted  for  a  Boston  gentleman.  It 
represented  an  interior,  furniture  of  white  and  gold  (time  of  Louis 
XV.),  with  a  lady  in  white  satin  costume.  It  was  praised  by  Bonnat, 
and  was  exhibited  in  the  Gallery  of  the  Society  of  American  Artists 
in  1878.  In  1877  Leland  went  to  Italy,  painting  "A  Courtyard  in 
Venice  "  while  in  that  city.  He  painted  his  own  portrait  and  a  "  Court 
Lady  "  (time  of  Henry  III.),  which  was  left  unfinished  at  the  time  of 
his  death  ;  while  at  work  upon  it,  December  5,  1877,  in  his  studio, 
he  met  with  an  accident,  dying  in  a  few  moments.  Mr.  Leland's  works 
show  careful  and  conscientious  study,  accuracy  of  drawing,  fine  color- 
ing, and  the  strength  which  might  be  expected  from  a  constant  student 
of  Bonnat  for  three  years.  Shortly  after  Mr.  Leland's  death  the  Bos- 
ton Transcript  said  :  — 

"Mr.  Leland's  picture  is  full  in  the  display  of  artistic  genius.  In  it  is  a  lady  in  a 
white  satin  dress  standing  near  the  center  of  a  room  before  a  piano.  She  is  in  the  act  of 
unbuttoning  a  glove,  and  her  attention  has  been  attracted  towards  the  front  and  opposite 
part  of  the  room  from  which  she  stands,  so  that  a  full  view  of  the  face  is  obtained  as  she 
turns  her  head  to  greet  the  expected  comer.  ....  All  the  shadows  are  softly  diffused 
into  the  various  parts  of  the  room,  and  are  in  perfect  keeping  with  the  strong  high  lights. 
The  face  is  frankly  painted  and  expressive,  the  pose  of  the  head  easy  and  natural.  The 
texture  of  the  dress  as  it  falls  in  graceful  folds  and  train  is,  as  it  should  be  in  order  to 
give  the  proper  effect,  exceedingly  well  drawn.  The  painting  is  in  its  every  part  the 
most  faithful  in  its  appearance  of  truth  of  tone  and  execution  that  has  been  exhibited 
in  this  city  for  some  years." 

Leleux,  Adolphe.  (Fr.)  Born  at  Paris,  1812.  Chevalier  of  the 
Legion  of  Honor.  He  studied  his  art  absolutely  alone.  He  traveled 
in  France  and  Algiers,  and  met  with  remarkable  success  in  his  pictures 
of  manners  and  customs,  which  is  principally  due  to  his  exactness  of 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  57 


representation.  His  "  Wedding  in  Brittany  "  (1863)  is  at  the  Lux- 
embourg. At  the  Salon  of  1877  he  exhibited  "  A  Salon  of  Crenille  " 
and  "  The  Family  of  a  Maker  of  Wooden  Shoes  in  Lower  Brittany." 
Among  his  pictures  are,  "  A  Market-Day  at  Finistere,"  "  Spring 
Flowers,"  "  A  Funeral  in  Brittany,"  "  Arab  Women  in  the  Desert," 
"  Bedouins  attacked  by  Dogs,"  etc.  At  the  Salon  of  1878  he  exhibited 
"  Washerwomen  in  Berry  "  and  "  The  Departure." 

Leleux,  Armand.  (Fr.)  Born  at  Paris,  1820.  Chevalier  of  the  Le- 
gion of  Honor.  Brother  of  Adolphe  Leleux.  Pupil  of  Ingres,  whom  he 
accompanied  to  Rome,  where  he  remained  two  years.  A  genre  painter. 
He  had  an  official  mission  to  Spain  in  1846,  and  has  also  traveled 
in  Germany  and  Switzerland.  The  "  Interior  of  the  Pharmacy  of  the 
Convent  of  the  Capuchins  at  Rome  "  (1863)  is  at  the  Luxembourg. 
Among  his  works  are,  "  A  Village  Barber  in  Switzerland,"  "  The  Eve 
of  the  Fete  "  (Swiss),  "  The  Alpine  Hunter,"  "  Scenes  in  the  Black 
Forest,"  "  Gypsies,"  "  Interior  of  a  Forge,"  etc.  At  the  Salon  of  1878 
he  exhibited  "The  Letter  of  Recommendation"  and  "A  Woman 
winding  Skeins." 

Leloir,  Jean  Baptiste  Auguste.  (Fr.)  Born  at  Paris,  1809. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Picot  and  l'Ecole  des 
Beaux- Arts.  His  decorative  works  are  at  the  churches  of  Saint-Ger- 
main-l'Auxerrois  and  Saint-Merri  at  Paris,  and  at  that  of  Saint-Leu 
Tavern ey  and  the  church  of  Saint- Jean  at  Belleville.  Among  his  pic- 
tures are,  "  The  Holy  Family  in  Egypt,"  "  A  Martyr,"  "  Marriage  of  the 
Virgin,"  "  Daphnis  and  Chloe,"  "  Death  of  Homer,"  "  Marguerite  in 
Prison,"  "  Ruth  and  Naomi,"  "  Captive  Athenians  at  Syracuse,"  etc. 
To  the  Salon  of  1878  he  contributed  "  Horace  a  Tibur." 

Leloir,  Alexandre  Louis.  (Fr.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  his  father.  At  the  Salon  of  1875  he 
exhibited  "  The  Grandfather's  Fete  "  ;  in  1874,  "  The  Slave."  At  the 
Johnston  sale,  New  York,  1876,  his  "Temptation  of  St.  Anthony" 
(28  by  39)  sold  for  $2,100.  To  the  Salon  of  1878  he  contributed 
"  The  Betrothal."    [Born,  1843.    Died,  1884.] 

Leloir,  Maurice.  (Fr.)  Born  at  Paris.  Pupil  of  his  father  and 
brother.  Medal  of  the  third  class,  in  1878,  when  he  exhibited  "The 
Last  Journey  of  Voltaire  to  Paris  in  1877,  "  Robinson  Crusoe  "  ;  in 
1876,  "  The  Marionnettes." 

Lemaire,  Philippe-Henri.  (Fr.)  Born  at  Valenciennes,  1798. 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of 
Cartellier.  He  gained  the  grand  prix  de  Rome  in  1821.  He  made  his 
debut  at  the  Salon  of  1831.  His  "  Head  of  the  Virgin  "  (1846)  is  at 
the  Luxembourg.  His  chef-oVozuvre  is  the  decoration  of  the  front 
of  the  Madeleine.  The  works  of  Lemaire  are  seen  in  many  public 
places.  In  1852  he  was  elected  to  the  Corps  Legislatif  in  the  De- 
partement  du  Nord.     [Died,  1880.] 

Lemaire,  Hector.  (Fr.)  Born  at  Lille.  Pupil  of  A.  Dumont 
3* 


58      ARTISTS  OF  THE  NINETEENTH  CENTURY, 


and  Falguiere.  Medals  in  1877  and  '78,  and  prix  du  Salon  in  1878, 
when  he  exhibited  a  plaster  group  of  "  Samson  betrayed  by  Delilah  "  ; 
in  1877,  "  Maternal  Love"  and  a  "  Souvenir  "  (bust,  plaster)  ;  in  1876, 
a  plaster  group,  "  The  Bath." 

Lematte,  Jacques-Francois-Fernand.  (Fr.)  Born  at  Saint- 
Quentin.  Medals  in  1870,  '73,  and  '76.  Pupil  of  Cabanel.  At  the 
Salon  of  1877  he  exhibited  a  portrait  and  "  The  Widow  "  ;  in  1876, 
"  Orestes  and  the  Furies  "  and  a  portrait  ;  in  1874,  "  The  Eape  of 
Dejanira"  ;  in  1878,  "A  Nymph  surprised  by  a  Faun"  and  a  portrait 
of  Mile.  S. 

Lenbach,  Franz.  (Ger.)  Born  at  Schrobenhausen,  a  Bavarian 
village,  and  the  son  of  a  carpenter,  whom  he  assisted  in  his  work  ;  all 
the  time  developing  his  taste  for  drawing  by  making  sketches  of  the 
men  and  animals  which  he  saw  about  him.  At  length  he  obtained 
permission  from  his  father  to  go  to  Munich.  His  allowance  Was  fif- 
teen cents  a  day !  He  presented  himself  to  Piloty,  who  arranged  for 
him  to  enter  the  Academy.  When  his  course  was  finished  he  re- 
turned to  his  home,  and  painted,  "  with  a  sort  of  intoxication,"  the 
peasants  as  in  his  childhood.  His  "  Sleeping  Shepherd  "  of  the  gallery 
of  the  Baron  Schack  was  painted  at  this  time.  Piloty  soon  sent  the 
young  painter  to  Kome  at  his  own  expense.  After  his  return  he  was 
made  a  Professor  at  Weimar,  where  he  was  associated  with  Beinhold 
Begas  and  Bocklin.  They  all  soon  resigned  their  offices,  and  Lenbach 
returned  to  Munich.  He  went  again  to  Italy  and  to  Spain,  and  made 
many  fine  copies  after  Titian,  Velasquez,  and  Murillo.  At  Paris,  in 
1867,  he  received  a  medal  of  the  third  class.  He  is  to-day  very  cele- 
brated, and  has  become  the  painter  of  princes  and  emperors.  His  pic- 
ture of  the  Emperor  of  Austria  was  at  the  Vienna  Exposition  of  1873. 
At  the  Paris  Exposition  of  1878  several  of  his  portraits  were  seen. 

"  M.  Lenbach  expresses  in  a  high  degree  the  striking  features  of  a  face,  the  vivacity, 
the  humid  depth  of  the  eyes,  the  accent  of  the  mouth  or  the  ear,  the  character ;  and 
allows  himself  to  freely  rest  on  such  or  such  a  trait  which  pleases  him.  His  execution 
is  singular,  —  he  is  not  careful  to  turn  a  drawing  correctly,  and  leaves  transparencies  in 

his  shadows  But  he  has  a  full  and  profound  impression  of  the  man,  and  of  the 

dominating  traits  of  his  face  and  his  whole  manner.  His  portraits  of  women  have  much 
grace,  and  a  charm  of  sentiment ;  although  one  must  seek  these  qualities  beneath  a 
melange  of  remembrances  of  Kubens  and  Jordaens,  and  under  a  light  which  is  a  little 
pale.    But  leaving  aside  sentiment,  and  his  manner  of  representing  what  he  sees,  he  is 

an  artist  An  onion-peel,  says  one  ;  a  great  varnished  aquarelle  in  the  manner  of 

Piloty,  says  another  ;  painting  buttered,  garnished  with  parsley,  a  la  maitre-d'hotel,  shall 
I  add  !  All  that  you  wish.  The  artist  who  calls  himself  Lenbach  is  a  personality,  a  man 
of  the  first  rank."  —  Duranty,  Gazette  des  Beaux-Arts,  July,  1878. 

Lenepveu,  Jules-Eugfene.  (Fr.)  Born  at  Angers.  1819.  Mem- 
ber of  the  Institute  and  Officer  of  the  Legion  of  Honor.  Director  of 
the  Academy  of  France  at  Kome  in  1873.  Pupil  of  Picot.  "  The 
Martyrs  in  the  Catacombs,"  Salon  of  1855,  is  at  the  Luxembourg.  He 
decorated  the  chapel  of  Saint  Anne  in  the  church  of  Saint-Sulpice, 
Paris.    This  was  completed  in  1864.    He  has  also  executed  decora- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  59 


tive  works  in  his  native  city.  His  easel-pictures  are  historical  and 
religious  subjects,  and  portraits.  Among  them  are  a  "  Venetian  Wed- 
ding," "  Pius  IX.  at  the  Sistine  Chapel,"  "  Moses  succoring  the 
Daughters  of  Midian,"  etc. 

Lepic,  Ludovic-Napole'on.  (Fr.)  Born  at  Paris.  Medal  in  1877. 
Pupil  of  Cabanel  and  Wappers.  His  pictures  at  the  Salon  of  1877 
were,  "The  Broken  Boat"  and  "The  Tempest";  in  1876,  "The 
Inundation  of  the  Quay  Bercy,  March  16,  1876  "  and  "  A  Calm  in 
the  Bay  of  Somme  "  ;  also,  three  etchings  of  "  Scenes  on  the  Banks 
of  the  Scheldt"  ;  in  1875,  "  Peche  de  nuit  au  chien  de  mer"  and  a 
"Boat  of  Boulogne";  in  1874,  "Springtime"  and  "The  Deluge" 
(a  triptych)  ;  in  1878,  "  The  Departure,  —  High  Tide  "  and  "  The  Re- 
turn,—  Low  Tide." 

Lequesne,  Eugene-Louis.  (Fr.)  Born  at  Paris,  1815.  Chevalier 
of  the  Legion  of  Honor.  Medal  at  London.  Pupil  of  Pradier,  who 
before  his  death  confided  to  him  the  completion  of  the  "  Victories  " 
of  the  Tomb  of  Napoleon  at  the  Invalides.  His  portrait  statues  and 
busts  are  numerous.  He  has  executed  decorations  at  the  Louvre, 
and  the  new  church  of  Saint- Augustin  at  Paris.  His  monumental 
Fountain  in  the  grand  Place  of  Nevers  and  a  "  Winged  Griffon  "  at 
the  Museum  of  Amiens  are  among  his  important  works.  At  the 
Salon  of  1876  he  exhibited  "  Gaulois  au  poteau,"  plaster  statue  ;  in 
1874,  "  That  of  which  the  Young  Girls  dream,"  plaster  statue  ;  etc. 

lie  Roux,  Charles-Marie-Guillaume.  (Fr.)  Born  at  Nantes, 
1814.  Officer  of  the  Legion  of  Honor.  Pupil  of  Corot.  At  the  Salon 
of  1877  he  exhibited  "A  Farm  in  Vendee"  and  "  The  Banks  of  the 
Loire  and  the  Basin  of  the  Basse- Indre  at  Low  Tide";  in  1876, 
"  High  Tide  at  Prefailles  "  and  a '"  View  at  the  Soulliers  " ;  in  1875,  "  A 
Marsh,  —  Sunrise,"  "  The  Bourg  of  Batz  and  the  Croisic,  —  Storm,"  and 
"  The  Approach  of  a  Squall  on  the  Coasts  of  Brittany  "  ;  in  1878, 
"  The  Vista  of  the  Chestnut-Trees  at  the  Soulliers "  and  "  At  the 
Soulliers,  —  Morning." 

Le  Roux,  Hector.  (Fr.)  Born  at  Verdun.  Medals  in  1863,  '64, 
and  '74.  Pupil  of  Pi  cot.  At  the  Salon  of  1877  he  exhibited  "  The 
Danaides"  and  "The  Vestal  Claudia  Quinta"  ;  in  1876,  "The  Obse- 
quies of  Themistocles  "  and  "The  Trial  of  a  Vestal"  ;  in  1874,  "The 
Vestal  Tuccia."  At  the  Johnston  sale,  New  York,  1876,  the  "  Fu- 
neral in  the  Columbarium"  (54  by  39)  sold  for  $  725.  At  the  Cor- 
coran Gallery  is  the  "  Vestal  Tuccia,"  which  gained  a  second  medal  at 
Paris  in  1874.  His  "  Funeral  in  the  Columbarium  of  the  House  of 
the  Caesars"  (1864)  is  at  the  Luxembourg.  At  the  Salon  of  1878 
was  his  "  Pallas  Minerva  on  the  Acropolis  of  Athens "  and  "  The 
Little  Orphans." 

"  Hector  Le  Roux,  whose  studio  is  at  12  Rue  de  Navarin,  one  of  the  principal  artists 
in  Paris,  used  to  live  at  Rome.  There,  in  his  delightful  retirement  on  the  Via  Quattro 
Fontane,  in  a  charming  apartment  now  occupied  by  Charles  Caryll  Coleman,  the  studio 


60       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  which  opened  on  a  beautiful  garden  full  of  orange  and  lemon  trees,  thick  with  vines, 
Le  Roux  painted  some  of  his  most  important  and  beautiful  pictures,  —  the '  Tuccia,* 
which  is  in  the  Corcoran  Gallery  at  Washington;  'The  Vestal  Fire  relighted  by  a 
Miracle,'  in  Mrs.  Herriman's  gallery  at  Rome  ;  the  important  and  remarkable  '  Dana'i- 
des,'  which  was  in  the  last  Salon  ;  etc.  Beside  these  and  other  valuable  art  works,  the 
names  of  which  I  cannot  recall,  he  also  made,  during  his  long  residence  in  Rome,  a  num- 
ber of  studies,  most  poetical  and  happy  subjects  for  future  pictures  Le  Roux 

has  been  medaled  again  and  again,  and  decorated  for  his  beautiful  works.  His  paint- 
ings, many  of  them,  have  been  taken  by  the  government,  and  are  in  the  various  museums 
of  France  :  one  is  at  the  Luxembourg,  the  beautiful  '  Funeral  at  the  Columbarium  of 
the  House  of  the  Caesars,  Porta  Capena,  at  Rome ' ;  it  was  one  of  the  leading  pictures  in 
the  Salon  of  1864.  His  '  Messalina  in  the  Suhurra,'  a  terrible  but  wonderfully  strong 
picture,  gained  one  of  his  medals  some  years  ago  ;  it  is  to  be  at  the  Universal  Exposition 
next  spring  ;  when  Meissonier,  who  is  on  the  jury,  saw  its  name  in  the  list  Le  Roux  sent 
in,  he  remembered  it  and  expressed  much  satisfaction.  Le  Roux  sent  to  the  jury  a  list 
of  six  names  of  pictures  for  the  coming  Exposition,  —  all  were  admitted,  — 1.  'An  An- 
cient Serenade' ;  2.  'Summer  Triclinium' ;  3.  '  Fire  of  Vesta  relighted  by  a  Miracle' ; 
4.  'Messalina  in  the  Suburra';  5.  'Toilette  of  Minerva  Poliade';  6.  'The  Danaides.' 
He  is  preparing  for  the  spring  Salon  two  new  pictures,  — one  is  of  two  young  Roman 
girls  of  ancient  times  visiting  the  tomb  of  their  parents  ;  the  other  is  more,  important 
in  subject,  and  very  interesting  and  poetical  in  detail.  It  is  '  The  Miracle  recorded  by 
Pausanias  of  the  Descent  of  the  Statue  of  Minerva  Poliade  from  Heaven.'  ....  It  is 
represented  most  poetically.  It  is  before  the  great  city  of  Athens  and  its  splendid  temples 
existed.  The  young  Greek  virgins  are  assembled  together  at  sunset  on  the  summit  of 
the  hill ;  beyond  is  the  sea  and  the  Troad,  a  lovely  bit  of  landscape,  with  soft  sky  ;  a 
grove  of  olive-trees  rises  on  the  second  plane  ;  the  tender  atmosphere  of  a  Greek  sunset 
pervades  the  picture.  On  the  front  plane  to  the  left  is  the  dark  statue  of  the  goddess 
which  has  descended  from  heaven  ;  the  firmly  planted,  archaic  feet  are  just  touching  the 
great  stone  summit  on  which  her  famous  temple  was  afterwards  erected.  This  archaic 
figure  is  most  impressive.  The  girls  are  in  various  attitudes,  expressive  of  their  emo- 
tions. You  see  that  it  is  a  solemn  and  awful  moment ;  to  them  is  being  revealed  a 
sacred  mystery  that  they  are  to  reveal  to  humanity.  One  girl  has  thrown  herself  face 
downwards  on  the  rocky  base  below  the  statue  ;  others  are  veiling  their  faces  in  awe ; 
one,  a  noble,  dignified  young  virgin,  stands  in  front  of  the  olive  grove,  full  of  courage 
and  reverence  ;  she  announces  and  proclaims  the  marvelous  miracle :  this  one  is,  of 
course,  the  future  first  high-priestess,  and  the  surrounding  girls  are  her  sisterhood  or 
band  of  vestal  virgins.  This  picture  is  painted  in  a  moderate  size,  well  fitted  for  a 
salon  or  parlor.  I  trust  some  American  patron  of  the  arts  may  secure  it  at  the  Salon 
of  next  spring."  —  Paris  Letter  of  Miss  Anne  Brewster,  October,  1877. 

Le  Roux,  Eugene.  (Fr.)  Born  at  Paris.  Medals,  1864,  *73,  and 
75.  Pupil  of  Picot.  At  the  Salon  of  1876  he  exhibited  "  The  Letter 
of  Recommendation"  ;  in  1875,  "  An  Ambulance  during  the  Siege  of 
Paris"  ;  in  1874,  "  An  Old  Amateur."  His  "  New-Born, —  Interior 
of  Lower  Brittany  "  (1864)  is  at  the  Luxembourg. 

Leslie,  Charles  Robert,  R.  A.  (Brit-Am.)  Born  in  England 
(1794-1859).  Taken  to  America  in  1799,  he  received  an  ordinary 
school  education  in  Philadelphia,  and  was  apprenticed  to  a  bookseller 
in  New  York.  In  1811  he  returned  to  England,  and  entered  the 
schools  of  the  Royal  Academy,  studying  also  under  West  and  Wash- 
ington Allston.  He  painted  during  his  early  career  in  London, 4'  Saul 
and  the  Witch  of  Endor,"  "  Anne  Page  and  Slender,"  "  May- Day  in  the 
Reign  of  Elizabeth,"  and  "  Sir  Roger  de  Coverley."    He  was  elected 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  61 


an  Associate  of  the  Royal  Academy  in  1821,  and  Academician  in  1825. 
In  1831  he  accepted  the  appointment  of  Professor  of  Drawing  at  the 
Military  Academy  at  West  Point,  but  relinquished  it  the  following 
year,  and  returned  to  England.  In  1848  he  was  made  Professor  of 
Painting  at  the  Royal  Academy,  holding  the  office  until  1851.  His 
lectures  were  subsequently  published.  Many  of  Leslie's  works  are  in 
the  Sheepshanks  Collection.  His  "  Uncle  Toby  and  Widow  Wadman  " 
(R.  A.,  1831)  and  "  Sancho  Panza  in  the  Apartment  of  the  Duchess  " 
(R.  A.,  1844)  are  in  the  Vernon  Collection  of  the  National  Gallery, 
London.  His  "  Columbus  and  the  Egg,"  "  Gulliver  introduced  to  the 
Queen  of  Brobdignag,"  "  Library  at  Holland  House,"  "  Queen  Vic- 
toria receiving  the  Sacrament  at  her  Coronation,"  "  Jeanie  Deans  and 
Queen  Caroline,"  "  Christ  and  the  Disciples  at  Capernaum,"  are  well 
known  by  the  medium  of  engraving.  His  "  Cooke  as  Richard  III.," 
"  Murder  of  Rutland  by  Clifford,"  and  others  are  in  the  Philadelphia 
Academy  of  Fine  Arts.  James  Lenox  owns  his  portrait  of  Washing- 
ton Irving. 

"  The  more  I  learn  of  art,  the  more  respect  I  feel  for  Mr.  Leslie's  painting  as  such  and  for 
the  way  in  which  it  brings  out  the  expressional  result  he  requires.  Given  a  certain  quan- 
tity of  oil  color  to  be  laid  with  one  touch  of  pencil,  so  as  to  produce  at  once  the  subtlest 
and  largest  expressional  result  possible,  and  there  is  no  man  now  living  who  seems  to  me 
to  come  at  all  near  Mr.  Leslie,  his  work  being  in  places  equal  to  Hogarth  for  decision,  and 
here  and  there  a  little  lighter  and  more  graceful."  —  John  Ruskin. 

"  From  this  time  [1833]  Leslie  produced  a  succession  of  masterly  works,  —  masterly  in 
every  respect,  perhaps,  except  their  coloring,  in  which  a  dull  red  or  burnt  sienna  tint  is  too 
prevalent.  This  is,  however,  not  the  case  with  the4  Sancho  Panza '  and  other  early  works. 
He  is  seen  to  great  advantage  in  the  Sheepshanks  Collection. "  —  Wornum's  Epochs  o} 
Painting. 

"Leslie's  first  successful  attempt  was  a  likeness  of  Cooke  the  tragedian,  taken  at  the 
theater.  He  soon  copied  admirably,  and  became,  like  most  of  his  fraternity,  early  occu- 
pied with  portraits.  After  teaching  drawing  for  a  short  time,  he  resigned  the  appoint- 
ment, returned  to  England,  and  enjoyed  the  liberal  encouragement  which  no  other  coun- 
try is  so  well  adapted  to  yield  the  kind  of  genius  by  which  he  is  distinguished.  She 
claims  him  as  her  own,  but,  although  born  there,  his  parents  were  American,  and  his 
first  lessons  in  art  were  received  on  this  side  the  water. "  —  Tuckerman's  Book  of  the  Artists. 

Leslie,  George  D.,  R.  A.  {Brit.)  Born  in  1835.  Son  of  Charles 
R.  Leslie  of  the  Royal  Academy,  whose  pupil  he  was.  George  D. 
Leslie  entered  the  schools  of  the  Royal  Academy  in  1854,  and  sent 
his  first  picture,  "  Hope  "  (now  the  property  of  Lord  Houghton),  to 
the  British  Institution  in  1857.  In  1859  he  sent  to  the  Royal  Acad- 
emy, "  Reminiscences  of  the  Ball,"  "  Matilda"  (from  Dante)  ;  in  1865, 
"The  Defence  of  Lathom  House";  in  1867,  "The  Cousins";  in 
1868  (when  he  was  made  Associate  of  the  Royal  Academy),  he  ex- 
hibited "Home  News,"  "The  Empty  Sleeve,"  and  "The  Boat- 
House"  ;  in  1870,  "  Fortunes"  ;  in  1872,  "  Lavinia  "  and  "  An  Elope- 
ment"; in  1874,  "The  Nut-Brown  Maid"  ;  in  1876,  "Roses"  and 
"Violets";  in  1877  (when  he  became  Academician),  he  contributed 
"  Cowslips  "  and  "  The  Lass  of  Richmond  Hill,"  his  diploma  work  ; 
in  1878,  "  Home,  Sweet  Home."    His  "  Celia's  Arbor  "  was  at  Phila- 


62       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


delphia  in  1876;  "Fortunes,"  "School  Revisited,"  "Pot-pourri," 
"  Lavinia,"  and  "  Celia's  Arbor  "  were  in  Paris  in  1878. 

"  It  must  be  a  great  delight  to  Mr.  Leslie  to  see  his  son  George  D.  Leslie  do  such  good 
work  as  this  '  Reminiscence  of  the  Ball.'   There  is  not  a  prettier  piece  of  painting  on 

the  walls,  and  very  few  half  so  pretty  I  shall  look  anxiously  for  Leslie's  work 

next  year,  for  he  seems  to  have  truly  the  power  of  composition,  and  that  is  the  gift  of 
gifts,  if  it  be  rightly  used.  He  colors  very  well  already.  —  Ruskin's  Notes  on  the  Pictures 
of  the  Year,  1S75. 

"  George  D.  Leslie  has  painted  nothing  so  complicated  in  combination  of  figures  and 
landscape  as  in  this  picture  ['  Fortune,'  R.  A.,  1870].  It  illustrates  both  his  merits  and 
defects  in  a  conspicuous  way.  The  purity  and  beauty  of  the  faces,  the  taste  of  the 
dresses,  the  grace  of  the  figures,  and  the  felicity  of  the  grouping,  with  the  amenity  of  the 
landscape,  give  a  charm  to  it  which  was  widely  and  directly  felt."  —  Tom  Taylor  in 
English  Painters  of  the  Present  Day,  1876. 

"  It  would  be  difficult,  as  a  rule,  to  find  on  the  walls  of  any  gallery  figures  more  unaf- 
fectedly refined  and  more  winning  in  their  attractiveness  than  those  George  D.  Leslie 
places  on  his  canvases. ....  The  painter  understands  thoroughly  the  sources  of  a  delicate 
beauty  proper  to  a  refined  type  of  English  girlhood  ;  and  he  has  the  power,  genuinely 
artistic  of  its  kind,  to  bring  all  of  the  materials  of  the  composition  in  accord  with  the 
dainty  spirit  that  inspires  it ;  for  even  the  landscape  portions  of  his  pictures  seem  as  if 
painted  under  the  influence  of  the  same  graceful  feeling  and  purity  of  taste,  so  as  to 
present  a  perfect  harmony  between  the  outside  world,  and  those  who  for  the  time  at 
least  occupy  the  scene.''  —  Art  Journal,  June,  1877. 

Leslie,  Robert  C.  {Brit.)  Son  of  Charles  R.  Leslie,  and  younger 
brother  of  George  D.  Leslie,  inheriting  much  of  the  artistic  talent  of 
his  family.  He  devotes  himself  particularly  to  marine  views,  and  has 
had  a  studio  for  some  years  at  Southampton,  exhibiting  frequently  at 
the  Royal  Academy,  at  the  Dudley  Gallery,  and  elsewhere.  Among 
his  later  pictures  may  be  noted,  "  Beachey  Head,"  "  Daybreak  on  the 
Atlantic,"  "  A  Calm  off  the  Foreland,"  "  A  Gale,"  "  A  Last  Shot  at 
the  Spanish  Armada  in  the  North  Sea,"  etc. 

"  All  that  Robert  Leslie  has  executed  of  this  kind  [sailor  life,  shipping,  and  the  sea] 
has  shown  a  genuine  love  and  pure  feeling  for  Nature,  a  thorough  mastery  of  the  tech- 
nical elements  of  his  subjects,  and  a  consistency  in  all  parts  of  his  pictures  such  as  in 
this  particular  walk  of  art  only  exact  knowledge  can  secure.  These  qualities  give  a  dis- 
tinctive value  and  interest  to  Robert  Leslie's  pictures,  which  as  yet  [1870]  have  hardly 
the  recognition  their  merits  entitle  them  to."  —  Tom  Taylor,  in  English  Painters  of  the 
Present  Day,  1870. 

*«  'Daybreak  on  the  Atlantic'  [R.  A.,  1877]  is  a  fine  and  solid  example  of  true  and 
learned  modeling  of  waves,  expressing  the  movement  of  a  ship  with  rare  felicity,  note- 
worthy for  just  treatment  of  the  atmosphere  and  broad  sober  color." — London  Athe- 
n&um,  May,  1877. 

Lessing,  Charles  Frederic.  (Ger.)  Born  at  Wartenberg,  Silesia, 
1808.  Member  of  the  Academy  of  Berlin.  Knight  of  the  Order  of 
Merit.  Medal  of  first  class  at  Paris.  Pupil  of  the  Academy  of  Ber- 
lin under  Dahling  and  Rosel.  The  father  of  this  artist  always  ob- 
jected to  his  being  a  painter,  but  when  at  seventeen  years  of  age  he 
gained  the  prize  of  the  Academy  by  his  picture  of  "  The  Cemetery  in 
Ruins,"  he  met  with  no  more  opposition  ;  and  under  the  influence  of 
Schadow,  who  had  become  interested  in  him,  he  rapidly  advanced. 
He  read  the  history  of  Bohemia,  and  painted  "  The  Sermon  of  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  63 


Hussites,"  which  gained  him  honors  in  Paris  and  criticisms  at  home, 
where  the  story  of  Huss  excited  violent  passions.  But  the  artist  only 
replied  by  still  other  pictures,  such  as  "  Huss  before  the  Council  of 
Constance,"  "Huss  going  to  the  Funeral-Pile"  (in  New  York),  "A 
Hussite  Preaching  "  (in  the  National  Gallery,  Berlin),  and  others  of  a 
similar  character.  Among  his  historical  subjects  are,  "Luther  burn- 
ing the  Bull  of  the  Pope,"  "  Discussion  of  Luther  and  Eck  at  Leip- 
sic,"  "  Pope  Pascal  II.  Prisoner  of  Henry  V.,"  etc.  Of  landscapes  we 
may  mention,  "  The  Cloister  in  the  Snow,"  "  View  taken  in  the 
Eifel,"  "A  Wood-Chapel,"  "  Ritterburg,"  the  famous  "Oaks  of  a 
Thousand  Years  "  (engraved  by  Steifensand),  and  many  picturesque 
views,  ruins,  convents,  Gothic  chateaux,  and  wild  forest  scenes.  The 
Berlin  National  Gallery  has  a  large  number  of  his  works.  The 
"  Luther  and  Eck  "  is  in  the  gallery  at  Carlsruhe,  and  cost  £  2,333. 
To  the  Paris  Exposition  of  1878  he  contributed  "  A  Landscape  "  (be- 
longing to  the  Gallery  of  Berlin).    [Died,  1880.] 

"A  painter  vigorous,  truth-seeking,  and  naturalistic  as  Lessing,  might  reasonably  be 
supposed  to  find  delight  in  Nature's  ways.  Lessing,  indeed,  has  been  deemed  by  some 
persons  greater  as  the  painter  of  landscape  than  of  history.  ....  All  the  landscapes  I 
have  seen  by  Lessing  have  been  accentuated  with  predetermined  purpose.  The  fixed 
and  the  forcible  intent  manifest  in  the  artist's  historic  compositions  speaks  out  scarcely 
less  decisively  and  intelligibly  in  his  portraiture  of  inanimate  nature,  which  thus  be- 
comes, as  it  were,  vocal  under  his  touch  Lessing,  it  will  be  seen,  is  a  keen  ob- 
server of  character,  an  accurate,  student  of  physiognomy.  He  delineates  human  nature 
with  a  breadth  which  pertains  to  the  species,  and  in  a  detail  that  distinguishes  the  indi- 
vidual And  this  it  is  that  gives  to  the  works  of  Lessing  their  pre-eminent  real- 
ity ;  this  it  is  that  endows  them  with  strong  power  of  appeal,  and  brings  them  in  close 
correspondence  with  the  pronounced  and  positive  spirit  of  the  age.  Lessing's  pictures 
are  no  unsubstantial  visions,  no  feverish  dreams,  or  ecstatic  swoonings  ;  they  are  real  as 
life,  true  as  nature,  and  manly  as  the  grand  historic  characters  they  seek  to  honor."  — 
J.  Beavington  Atkinson,  Art  Journal,  September,  1865. 

Leu,  August  Wilhelm.  (Ger.)  Born  in  Minister,  1818.  Boyal 
Professor  and  member  of  the  Academy  of  Berlin.  Member  of  the 
Academies  of  Vienna,  Amsterdam,  and  Brussels.  Medals  at  Berlin. 
Studied  at  the  Diisseldorf  Academy  under  Schirmer.  Traveled  in 
Norway,  Switzerland,  Bavaria,  and  Italy.  At  the  National  Gallery 
of  Berlin  is  his  "  View  of  a  Swiss  Lake."  At  Vienna,  in  1871,  he  ex- 
hibited "  Am  Grundelsee  "  ;  and  at  Berlin,  in  1876,  "  Rocca  Bruna, 
near  Nice,"  "  A  View  of  Capri,"  and  a  "  View  near  Kandersteg."  To 
the  Paris  Exposition  of  1878  he  sent  "  Lake  Oeschinen  in  the  Canton 
of  Berne  "  (belonging  to  the  National  Gallery  of  Berlin). 

Leutze,  Emmanuel,  N.  A.  (Ger.-Am.)  Born  in  Wurtemberg, 
Bavaria  (1816-1868).  Taken  as  a  child  by  his  parents  to  Philadel- 
phia, he  early  displayed  artistic  talents.  By  the  sale  of  numerous 
drawings  he  realized  enough  to  carry  him  to  Europe  in  1841,  when  he 
went  to  Diisseldorf,  entered  the  Academy  there,  and  painted  his 
"  Columbus  before  the  Council  of  Salamanca  "  (which  was  purchased 
by  the  Diisseldorf  Art  Union).    He  also  painted,  during  his  stay  in 


64       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Germany,  "  News  from  Lexington,"  "  Mrs.  Schuyler  firing  the  Wheat- 
Fields,"  and  similar  works  of  an  ideal  or  historical  character.  He  also 
studied  in  Italy,  and  returned  to  America  in  1859,  after  which  time  he 
made  frequent  visits  to  the  art  centers  of  Europe.  He  was  made  a 
member  of  the  National  Academy  in  1860.  He  painted  many  pic- 
tures taken  from  French,  German,  Spanish,  as  well  as  American  his- 
torical subjects.  Among  the  better  known  of  these  are,  "  Columbus 
in  Chains "  (exhibited  in  Brussels,  for  which  he  received  from  the 
King  of  the  Belgians  a  silver  medal),  "  Cromwell  and  his  Daughter," 
"  John  Knox  and  Mary  Stuart,"  and  "  Western  Emigration  "  (which 
is  in  the  Capitol  at  Washington).  His  "  Elaine  "  was  in  the  Na- 
tional Academy  in  1867.  After  his  death,  in  1868,  were  exhibited 
there  the  "  Mother's  Visit "  (belonging  to  H.  G.  Marquand),  the 
"  Storming  of  Teocalli,  Mexico,"  "Settlement  of  Maryland  by  Lord  Bal- 
timore," the  "Iconoclast  "  (belonging  to  R.  M.  Olyphant),  and  portraits 
of  General  Grant,  W.  Whittredge,  Louis  Lang,  and  himself  (the  last 
presented  to  the  Academy  by  John  Taylor  Johnston).  His  "  Mary 
Stuart  hearing  the  First  Mass  at  Holyrood  after  her  Return  from 
France  "  (belonging  to  John  A.  Riston)  was  at  the  Paris  Exposition 
of  1867.  "Henry  VIII.  and  Anne  Boleyn"  belongs  to  W.  T.  Wal- 
ters of  Baltimore,  and  his  "  Christmas  Mummeries  "  to  Mrs.  Abner 
Mellen. 

"  Emanuel  Leutze  is  the  representative  painter  of  the  American  branch  of  the  Diissel- 
dorf  school,  and  stands  the  highest  in  popular  esteem.  He  manifests  some  originality 
of  thought,  much  vigor,  overmuch  dramatic  force,  and  has  abundance  of  executive  skill, 
but  is  spasmodic  and  unequal.  Tours  de  force  delight  him.  He  has  the  vicious  coloring 
of  the  Diisseldorf  school  in  its  fullest  extent.  The  rotunda  painting  in  the  Capitol  of 
the  '  Star  of  Empire '  is  his  most  ambitious  work.  This,  the  well-known  '  Washington 
crossing  the  Delaware,'  the  '  Storming  of  Teocalli,  Mexico,'  and  the  portrait  of  General 
Burnside,  are  striking  examples  of  his  epic  style."  —  Jarves,  Art  Idea. 

'*  His  admirers  are  fond  of  him,  and  his  enemies  very  severe.  The  character  of  Leutze 
was  worked  out  in  his  pictures  with  wonderful  exactness.  He  was  a  hero-worshiper  ; 
he  was  fond  of  adventure,  and  of  wild,  gleeful  fun  ;  he  was  more  given  to  vivid  sensation 
than  to  sentiment  or  refinement ;  he  acted  out  Emerson's  words,  '  There  is  hope  in  ex- 
travagance, there  is  none  in  routine  ' ;  he  was  brave  and  cordial,  and  swept  on  to  his  end 
with  a  rush,  like  a  spring  waterfall,  happy  in  freedom,  and  in  haste  for  the  end  of  its 
course.  All  this  is  in  his  pictures,  and  while  we  love  the  works  of  others  more,  we  may 
gain  much  pleasure  from  his."  — Mrs.  C.  E.  Clement,  Painters,  Sculptors,  Architects,  and 
Engravers. 

Ldvy,  Emile.  (Fr.)  Born  at  Paris,  1826.  Chevalier  of  the  Le- 
gion of  Honor.  Studied  at  l'^cole  des  Beaux- Arts  under  Abel  de 
Pujol  and  Picot.  He  gained  the  grand  prix  de  Rome  in  1854.  In 
1855  he  sent  to  the  Exposition  a  picture  of  "  Noah  cursing  Canaan," 
which  was  purchased  by  the  government.  His  "  Death  of  Orpheus  " 
(1866)  is  in  the  Luxembourg.  In  1877  he  exhibited  the  "  Meta 
Budans,  or  the  Fountain  where  the  Wrestlers  of  the  Circus  made 
their  Ablutions,"  and  a  portrait  ;  in  1876,  "  The  Willow  "  and  "  A 
Bather  "  ;  in  1875,  "  The  Brook,"  "  The  Boat,  —  an  Idyl,"  and  a  por- 
trait ;  in  1874,  "Love  and  Folly"  ;  in  1873, " The  Path,  — an  Idyl" 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  65 


and  "  A  Child  "  ;  in  1872,  "  The  Letter  "  and  "  A  Young  Girl  bear- 
ing Fruit  "  ;  etc.  Levy  has  executed  decorative  works  in  the  church 
of  the  Trinity,  at  the  Cercle  de  l'Union  artistique,  the  ceiling  of  the 
theater  of  the  Bouffes  Parisiens,  and  in  several  hotels,  etc.  At  the 
Salon  of  1878  he  exhibited  "  Caligula." 

LeVy,  Henri  Leopold.  (Ft.)  Born  at  Nancy,  1840.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Picot,  Cabanel,  and  Fromentin. 
In  1865  he  exhibited  "  Hecuba  finding  the  Body  of  Polydorus  on  the 
Seashore  "  ;  in  1867,  "  Joash  saved  from  the  Massacre  of  the  King's 
Sons "  ;  in  1869,  "  Captive  Hebrews  weeping  over  the  Ruins  of 
Jerusalem  "  ;  in  1872,  "  Herodias"  ;  in  1873,  "  Christ  in  the  Tomb  "  ; 
in  1874,  "  Sarpedon  "  (in  the  Luxembourg)  ;  etc.  His  "  Christ  in  the 
Tomb  "  was  much  remarked.  In  1875  and  '76  he  was  engaged  in 
decorative  paintings,  and  has  sent  nothing  to  the  Salons  from  1874  to 
1879,  when  he  exhibited  "Christ  on  the  Mount  of  Olives." 

"  The  color  of  Henry  Levy  is  much  praised.  To  our  eyes  it  is  not  that  of  a  frank  and 
sincere  colorist,  it  is  that  of  a  man  of  taste  who  wishes  to  produce  some  picturesque 
effects.  Without  ever  reaching  great  power  he  turns  easily  to  mannerism.  Thus  his 
angel's  wings,  instead  of  being  white  or  of  one  color,  are  diversely  and  brilliantly 
tinged.  In  the  draperies,  in  the  nude  bodies,  in  the  backgrounds,  even,  one  feels  an  in- 
cessant preoccupation  with  the  attempt  to  avoid  the  commonplace.  Moreover,  there  is 
a  heaviness,  a  defect  in  harmony  ;  the  air  does  not  circulate  freely  about  his  personages. 
Levy  is,  in  point  of  color,  an  intelligent  pupil  and  feeble  imitator  of  Delacroix,  as  he  is 
in  design,  composition,  and  style  an  eclectic  pupil  of  the  great  masters.  He  has  neither 
an  inspired  genius,  nor,  perhaps,  even  the  temperament  of  a  painter  ;  he  is,  neverthe- 
less, one  of  the  most  distinguished  representatives  of  that  young,  romantic  renaissance 
which  essays  to  revive  among  us  the  traditions  of  the  grand  school."  —  Ernest 
Duvergier  be  Hauranne,  Revue  des  Deux  Mondes,  June,  1873. 

Lewis,  John  Frederick,  R.  A.  (Brit.)  (1805-1876.)  Son  of  F. 
C.  Lewis  the  engraver,  whose  pupil  he  was.  He  began  his  art  career  by 
a  series  of  animal  studies,  which  he  engraved  himself.  He  painted,  in 
1822,  "Deer-Shooting  at  Becthus,  Essex"  ;  in  1826,  "  Deer-Shooting 
in  Windsor  Forest " ;  and  was  elected  member  of  the  Society  of  Painters 
in  Water-Colors  in  1828.  He  subsequently  spent  some  years  in 
study  in  Spain,  Italy,  Greece,  Turkey,  and  the  East,  painting  his 
"  Spanish  Bull-Fight,"  "  Monks  preaching  at  Seville,"  "  Easter-Day 
at  Borne,"  and  other  pictures.  He  returned  to  England  in  1851.  In 
1855  he  was  elected  President  of  the  Water-Color  Society,  an 
office  he  held  for  three  years,  exhibiting  at  its  gallery,  in  1856,  his 
"  Frank  Halt  in  the  Desert  of  Mount  Sinai,"  called  by  Ruskin  "  the 
climax  of  water-color  drawing."  He  exhibited  at  the  Royal  Academy, 
in  oil,  in  1856,  "The  Meeting  in  the  Desert  "  ;  in  1859  (when  he  was 
made  Associate  of  the  Royal  Academy)  he  exhibited  "  Waiting  for 
the  Ferry-Boat,  —  Upper  Egypt"  ;  in  1865,  «  A  Turkish  School,  — 
Cairo"  ;  in  1866,  "  The  Door  of  a  Cafe  in  Cairo  "  (his  diploma  work, 
deposited  on  his  election  as  an  Academician)  ;  in  1868  he  exhibited 
"  An  Armenian  Lady  "  ;  in  1872,  "  The  Prayer  of  Faith  shall  save  the 
Sick"  ;  in  1874,  "  In-Door  Gossip"  and  "  Out-Door  Gossip,  Cairo  "  ; 

E 


66       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  1876,  "  Midday  Meal,  Cairo  "  and  "On  the  Banks  of  the  Nile,— 
Upper  Egypt."  He  was  made  an  Honorary  Member  of  the  Royal 
Scottish  Academy  in  1853. 

"  Mr.  Lewis'  '  Frank  Halt  in  the  Desert '  [R.  A.,  1863],  substantially  a  reproduction 
in  oil  of  his  magnificent  drawing  in  the  water-color  exhibition  a  few  years  back,  is 
wrought  out  with  such  subtle  truth  of  design,  and  colored  with  a  skill  so  extraordinary, 
that  one  can  hardly  help  wishing  these  powers  devoted  to  a  subject  of  larger  interest. 
Here  the  whole  scene  is  in  shadow,  yet  full  of  pervading  light."  —  Palgrave's  Essays 
on  Art. 

"  If  'The  Frank  in  the  Desert  of  Mount  Sinai '  stands  the  test  of  time,  it  will  one  day 
be  among  the  things  which  men  will  come  to  England  from  far  away  to  see,  and  will  go 
back  to  their  homes,  saying,  '  I  have  seen  it ! '  as  people  come  back  now  from  Venice, 
saying,  '  I  have  seen  Titian's  "  Peter  Martyr  !'»»"_  Mrs.  Tytler's  Modern  Painters. 

"There  cannot  be  the  slightest  doubt  that  in  losing  Lewis  we  have  lost  one  of  the 
most  powerful  and  original  of  English  artists."  —  London  Athenceum,  September,  1876. 

"Lewis'  style  combined  all  attainable  brilliancy  with  the  utmost  finish." — Art 
Journal,  October,  1876. 

Lewis,  Frederick  C.  (Brit.)  (1813-1875.)  Son  of  F.  C. 
Lewis,  an  eminent  English  engraver,  and  younger  brother  of  J.  F. 
Lewis,  R.  A.  He  became  an  artist  at  a  very  early  age,  studying 
under  Sir  Thomas  Lawrence.  He  went  to  Persia  in  1844,  through 
Asia  Minor  and  to  India,  where  he  remained  for  many  years,  painting 
the  ceremonies  and  customs  of  the  natives,  his  pictures  being  fre- 
quently engraved.  He  was  a  great  traveler,  and  is  said  to  have  vis- 
ited every  quarter  of  the  globe. 

Lewis,  Edmonia.  (Am.)  Born  in  the  State  of  New  York.  She 
has  in  her  veins  Indian  as  well  as  African  blood.  Displaying  a  natu- 
ral genius  for  sculpture,  and  comparatively  untaught,  she  first  exhib- 
ited in  Boston,  about  1865,  a  portrait  bust  of  Colonel  Shaw,  which 
attracted  much  attention.  This  was  followed  by  "  The  Freedwoman," 
a  statue,  after  the  completion  of  which,  in  1867,  she  went  to  Rome, 
where  she  has  since  resided.  Very  few  of  her  works  have  been  sent 
to  America.  To  the  Centennial  Exhibition  she  contributed,  in  marble, 
"  The  Death  of  Cleopatra."  Her  "  Old  Arrow- Maker  and  his  Daugh- 
ter," "  Asleep,"  and  terra-cotta  busts  of  Sumner,  Longfellow,  John 
Brown,  and  others,  are  known  to  the  visitors  of  her  studio  in  Rome, 
but  to  her  own  country  only  by  photography.  Mrs.  Laura  Curtis 
Bullard  of  New  York  owns  her  "  Marriage  of  Hiawatha."  The  Mar- 
quis of  Bute  bought  her  "  Madonna  with  the  Infant  Christ,"  au  altar- 
piece. 

"  Among  Miss  Lewis'  other  works  are  two  small  groups  illustrating  Longfellow's  poem 
of  Hiawatha.  Her  first,  '  Hiawatha's  Wooing,'  'represents  Minnehaha  seated,  making  a 
pair  of  moccasins,  and  Hiawatha  by  her  side  with  a  world  of  love  and  longing  in  his  eyes.' 
In  the  marriage  they  stand  side  by  side,  with  clasped  hands.  In  both,  the  Indian  type 
of  feature  is  carefully  preserved,  and  every  detail  of  dress,  etc. ,  is  true  to  nature  ;  the 
sentiment  is  equal  to  the  execution.  They  are  charming  bits,  poetic,  simple,  and  natu- 
ral, and  no  happier  illustrations  of  Longfellow's  most  original  poem  were  ever  made  than 
these  by  the  Indian  sculptor."  — Revolution,  April,  1871. 

"  This  was  not  a  beautiful  work  ['  Cleopatra '],  but  it  was  a  very  original  and  very  striking 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  67 

one,  and  it  deserves  particular  comment,  as  its  ideal  was  so  radically  different  from  those 

adopted  by  Story  and  Gould  in  their  statues  of  the  Egyptian  Queen  The  effects  of 

death  are  represented  with  such  skill  as  to  be  absolutely  repellent.  Apart  from  all  ques- 
tions of  taste,  however,  the  striking  qualities  of  the  work  are  undeniable,  and  it  could 
only  have  been  produced  by  a  sculptor  of  very  genuine  endowments. "  —  Great  American 
Sculptors. 

Leys,  Baron  Jean  Auguste  Henri.  (Belgian.)  Born  at  Antwerp 
(1815  -  1869).  Made  Baron  in  1862.  Commander  of  the  Order  of 
Leopold.  Officer  of  the  Legion  of  Honor.  Member  of  the  Academy 
of  Antwerp.  Originally  intended  for  the  Church,  this  artist  was  so 
controlled  by  his  love  of  art  that  he  entered  the  studio  of  F.  de  Braek- 
eleer,  his  brother-in-law,  in  1830,  and  three  years  later  brought  him- 
self into  notice  by  his  picture  of  "  The  Pillage  of  Antwerp  in  1576." 
This  was  followed  by  "  A  Fight  between  the  Citizens  of  Ghent  and 
a  Party  of  Burgundians  "  and  "  The  Massacre  of  the  Magistrates  of 
Louvain  in  1379."  In  1837  his  "  Kich  and  Poor,"  exhibited  at  Ant- 
werp, was  bought  by  the  government.  "  Rembrandt's  Studio  "  was 
sent  to  Brussels  the  same  year,  and  was  purchased  for  a  gallery  in 
Ghent.  His  "Interior  of  an  Inn  Yard  "  (1842)  is  in  the  Museum  of 
Frankfort.  The  "  Renewal  of  Public  Worship  in  the  Antwerp  Cathe- 
dral after  the  Disturbances  of  the  Iconoclasts  "  is  in  the  Brussels  Mu- 
seum. A  picture  of  the  same  subject  (24  by  31)  was  sold  by  Mr- 
Latham,  New  York,  1878,  for  $  1,600.  After  1846  he  exhibited  noth- 
ing of  importance  until  1851,  when  "  The  Fete  given  to  Rubens  by 
the  Gunsmiths  of  Antwerp  "  showed  the  change  which  his  manner  had 
undergone.  The  absurd  name  of  Pre-Raphaelite  is  perhaps  well 
enough  understood  to  allow  it  to  be  used  for  the  sake  of  conciseness, 
in  order  to  give  an  idea  of  what  this  newer  manner  of  Leys  is.  In 
1854,  which  may  be  called  his  best  period,  he  exhibited,  at  Brussels, 
"  La  Promenade  de  Faust,"  now  in  the  Brussels  Museum  ;  "  New 
Year's  Day  in  Flanders,"  bought  by  M.  Fould  ;  and  "  Les  Trentaines 
de  Bartel  de  Haze."  To  the  English  International  Exhibition  of 
1862  he  sent  "  Luther  singing  in  the  Streets  of  Eisenach."  Soon  after 
Baron  Leys  was  commissioned  to  decorate  the  great  hall  of  the  Hotel 
de  Ville  of  Antwerp,  which  he  did  in  a  series  of  pictures  illustrative  of 
the  eventful  history  of  that  city.  Want  of  space  forbids  a  description 
of  these  works.  Baron  Leys  has  sometimes  executed  smaller  subjects. 
Among  his  other  works  are  many  excellent  etchings.  His  pictures 
are  very  numerous,  and  are  scattered  all  over  Europe.  Many  have 
been  reproduced  by  some  of  the  various  modes  of  engraving.  "  The 
Promenade  without  the  Walls,"  "New  Year's  Day  in  Flanders"  (1855), 
and  "  Franz  Floris  going  to  a  Fete  given  by  the  Confreres  of  St. 
Luke  "  are  among  his  chefs-d'oeuvre.  He  has  also  made  some  litho- 
graphs. At  the  Oppenheim  sale,  Paris,  1877,  "  Interieur  de  Luther 
a  Wittenberg"  sold  for  23,500  francs.  At  a  sale  in  London,  1876, 
"Backgammon  Players"  sold  for  ,£903.  At  a  sale  in  Brussels,  1874, 
"  The  Declaration  "  sold  for  £  1,060.    The  same  work,  one  month 


68       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


later,  at  Christie's,  brought  1,110  guineas.  At  the  Paris  sale,  1868, 
"  Fetes  in  Honor  of  Rubens  "  sold  for  £  964.  At  the  Sale  Wittering', 
Paris,  1876,  "  The  Studio  of  Rembrandt,"  important  water-color, 
brought  1,920  francs.  At  the  Plint  sale,  London,  1862,  "  Capestro, 
the  Carpenter  of  Antwerp,  preaching  in  his  Wood- Yard"  brought 
£850.  In  the  Berlin  National  Gallery  is  a  "Religious  Service  in 
Holland,  Seventeenth  Century,"  "  Holland  Society  in  the  Seventeenth 
Century,"  and  "  Diirer  in  Antwerp  painting  Erasmus." 

"  Leys  is  not  only  this  year  the  grand  and  illusory  colorist  we  all  know  ;  he  reveals 
himself  as  a  thinker  and  a  poet ;  his  pictures  are  not.  as  some  critics  insinuate,  —  with 
whom  French  gray  is  the  perfection  of  art,  —  laborious  copies  of  the  mediaeval  age  ;  they 
are  surprising  and  powerful  works,  created  by  a  deep  knowledge  of  the  epochs  he  would 
represent.  With  Leys  one  entirely  lives  in  the  sixteenth  or  seventeenth  century,  and 
these  periods  he  would  not  have  you  understand  by  the  materialism  of  art,  such  as  cos- 
tumes, furniture,  and  architecture.  ....  Leys  goes  much  beyond  this  ;  he  searches  into 
the  very  depths  of  an  epoch  ;  he  revives  its  moral  and  intellectual  life,  which  he  knows 
how  to  reflect  in  the  physiognomy  of  his  characters."  —  A  Critique  of  the  Brussels  Exposi- 
tion of  1854. 

"The  genius  of  Baron  Leys,  however,  is  of  so  diversified  a  character  that  he  can  mold 
it  into  any  form,  and  adapt  it  to  any  purpose,  —  to  the  humorous  or  the  pathetic,  to  the 
grandeur  of  history  or  the  incidents  of  ordinary  social  life  ;  and  his  pencil  portrays,  with 
equal  truth,  vigor,  and  delicacy,  the  art  of  an  age  long  passed  away,  and  that  of  his  own 
time."  —  James  Dafforne,  Art  Journal,  July,  1866. 

Lier,  Adolf.  (Ger.)  Born  in  Herrnhut,  1826.  Member  of  the 
Academies  of  Munich  and  Dresden.  Medals  at  Vienna  and  Berlin. 
Studied  at  Dresden  Academy  and  under  Richard  Zimmermann  in 
Munich.  At  Paris  he  was  under  Jules  Dupre.  Has  traveled  in  Italy, 
England,  and  Scotland.  At  the  National  Gallery,  Berlin,  is  "Evening 
on  the  Iser."  To  the  Paris  Exposition  of  1878  he  contributed  "  An 
Autumn  Evening  on  the  Banks  of  the  Iser  "  (belonging  to  the  National 
Gallery,  Berlin).    [Died,  1882.] 

"  Adolf  Lier  is  inspired  by  a  subtle  sympathy  with  Nature.  He  has  a  fine  feeling  for 
her  various  aspects.  To  him  she  seems  to  sing  the  everlasting  minor  hymn  of  the  ages 
that  sweeps  sadly  over  the  sear  fields  in  the  plaintive,  melancholy  days  of  October,  when 
the  birds  are  flown,  the  flowers  are  faded,  and  the  dying  year,  drawing  to  its  end,  sym- 
bolizes the  brevity  of  life  below."  -  Benjamin's  Contemporary  Art  in  Europe. 

Lima,  Victor  Meirelles  de.  (Brazilian.)  Of  Rio  de  Janeiro. 
Medal  at  Philadelphia,  where  he  exhibited  "The  Naval  Battle  of 
Riachuelo,"  "  The  Brazilian  Ironclad  Fleet  passing  by  Humaita,"  and 
"  The  First  Mass  in  Brazil." 

Lindeneher,  Edouard.  (Fr.)  Born  at  Vaugirard  (Seine),  1837.  At 
the  age  of  thirteen  this  artist  entered  the  atelier  of  Fanniere,  a  "sculp- 
tor in  gold,"  and  has  remained  always  with  this  his  first  and  only  in- 
structor. In  connection  with  Fanniere,  as  his  collaborateur,  Lindeneher 
has  received  several  medals.  He  has  designed  for  various  bronze- 
makers,  has  sold  his  models,  and  his  works  have  appeared  with  the 
signatures  of  his  employers,  never  with  his  own.  Of  late,  however, 
he  has  become  more  widely  known  through  the  vases  and  other  pieces 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  69 


of  Haviland  faience  which  he  has  made  ;  these  are  separately  modeled 
by  him  and  never  molded,  and  each  one  bears  his  name.  The  special 
excellence  of  the  works  of  Lindeneher  is  their  truthfulness  to  Nature. 
She  loses  nothing,  and  is  never  exaggerated,  but  is  reproduced  with 
her  own  sweet  grace  by  this  earnest  student  and  conscientious  artist. 

Lindenschmit,  Wilhelm.  (Ger.)  Born  in  Munich,  1829.  Pro- 
fessor at  the  Eoyal  Academy  of  Munich,  and  member  of  the  Academy 
of  Berlin.  Medal  at  Berlin,  1870.  Historical  painter.  S.  G.  W. 
Benjamin  says  :  — 

"  He  is  inspired  by  noble  thought  and  high  artistic  qualities  in  rendering  character, 
especially  in  historic  compositions.  His  scenes  in  the  career  of  Luther  are  marked  by 
singular  power,  and  entitle  him  to  rank  among  the  foremost  living  artists  of  Germany." 

Among  his  works  are,  "  Ulrich  von  Hutten  "  (now  at  the  Museum 
at  Leipsic),  several  pictures  from  the  life  of  Luther,  "  The  Foundation 
of  the  Order  of  the  Jesuits,"  and  "  The  Pleasures  of  the  Convent." 
At  the  Berlin  Exposition  in  1876  he  exhibited  "  Martin  Luther  be- 
fore Cardinal  Cajetan,  Augsbourg,  1518,"  "Martin  Luther  brought  by 
his  Parents  to  the  School  of  the  Gray  Friars  at  Magdebourg,"  and  "  An 
Episode  in  the  Child-Life  of  Queen  Elizabeth,  1536."  There  was  an 
exhibition  of  pictures  by  Munich  artists  in  Boston  in  April,  1878, 
where  the  "  Venus  "  by  this  artist  was  much  noticed. 

"  Lindenschmit  struggles  and  struggles,  but  cannot  get  out  of  the  dirty  brown  tone 
that  he  has  acquired  in  Belgium  into  a  healthy,  free  atmosphere.  There  is  an  oppres- 
sive heaviness  in  all  his  figures  which  seems  to  rob  them  of  the  use  of  their  limbs.  They 
Jack  life  and  motion,  they  all  look  jaundiced  and  ill ;  red  cheeks  and  a  healthy  complexion 
are  unknown  in  Lindenschmit's  pictures,  yellow  and  leather-colored  faces  are  seen  on 
young  and  old.  If  we  compare  Lindenschmit's  plain,  homely,  unpretentious  manner 
with  Karl  Becker's  showy  costume  pictures,  we  shall  see  the  intrinsic  merit  of  the 
works  of  Lindenschmit  in  spite  of  their  faults  of  color. "  —  Zeitschrift  fur  bildencle  Kunst, 
1876. 

Lindholm,  B.  (Russian.)  Of  Helsingfors,  Finland.  At  Philadel- 
phia he  exhibited  a  picture  of  "A  Steamer  in  Floating  Ice,"  and  re- 
ceived a  medal.  To  the  Paris  Exposition  in  1878  he  contributed 
"  Pasturage  "  and  "  A  Road  in  the  Forest." 

Linnell,  John.  (Brit.)  Born  in  1792.  He  early  evinced  a  taste 
for  art,  and  when  not  more  than  twelve  years  of  age  became  a  pupil 
of  Benjamin  West,  studying  later  under  Varley  in  London.  In  1807 
he  sent  his  first  picture  to  the  Royal  Academy,  and  for  a  period  of 
seventy  years  he  has  been  a  regular  contributor  to  its  exhibitions. 
He  began  the  practice  of  his  art  as  a  miniature  and  portrait  paintei, 
in  later  years  turning  his  attention  to  landscapes,  in  which  branch  he 
has  won  considerable  distinction,  painting,  during  his  long  career, 
many  hundreds  of  pictures  which  are  in  the  public  and  private  col- 
lections of  England.  Among  the  Vernon  pictures  in  the  National 
Gallery  are  two  specimens  of  Linn  ell's  work,  "  Wood-Cutters  "  (men 
felling  timber  in  Windsor  Forest),  and  "  The  Windmill,"  which  was 
at  the  Royal  Academy  in  1847.    Among  his  earlier  works  are,  "The 


70       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Timber- Wagon,"  "  Eve  of  the  Deluge,"  "  Barley-Harvest,"  "  Under 
the  Hawthorn/'  "  Christ  and  the  Woman  of  Samaria,"  "  The  Last 
Gleam  before  the  Storm,"  etc.  In  1868  he  sent  to  the  Koyal  Acad- 
emy, "Crossing  the  Brook"  ;  in  1869,  "  The  Lost  Sheep"  ;  in  1870, 
"  Sleeping  for  Sorrow  "  ;  in  1871,  "  Shelter"  ;  in  1872,  "  The  Ford"  ; 
in  1873,  "The  Coming  Storm  "  ;  in  1874,  "  Wood-Cutters"  ;  in  1875, 
"  Woods  and  Forests  "  ;  in  1876,  "  The  Hollow  Tree  "  ;  in  1877, 
"Autumn";  in  1878,  "The  Heath."   [Died,  1882.] 

"The  forest  studies  of  John  Linnell  are  peculiarly  elaborate,  and  in  many  points 
most  skillful. "  —  Ruskin's  Modern  Painters. 

Linnell,  James  Thomas.  {Brit.)  Son  of  John  Linnell,  inherit- 
ing not  a  little  of  his  father's  talent.  He  first  exhibited  at  the  Royal 
Academy,  in  1850,  "Temptation  in  the  Wilderness,"  followed,  in 
1851,  by  "Job  and  the  Messengers";  "  Mountain-Path,"  in  1857; 
"Wheat-Field,"  in  1858;  "  Haymakers,"  in  1862;  "  South  Coast,"  in 
1864;  "Moonlight  Road," in  1867;  "Plowing,"  in  1868  ;  "Reaping," 
in  1870  ;  "  Moon  is  Up,"  in  1871  ;  "A  Country  Road,"  in  1873  ;  the 
"  Mower  whets  his  Scythe,"  in  1874  ;  "  Sunset  over  the  Moors,"  in 
1875  ;  "Dartmoor,"  in  1876  ;  "Cherry  Blossoms,"  in  1877. 

Linnell,  William.  (Brit.)  Son  of  John  Linnell.  He  possesses 
much  of  the  family  genius,  and  has  exhibited  regularly  landscape 
pictures  in  the  Royal  Academy  for  some  years.  In  1861  he  sent 
44 Collecting  the  Flock,  — Evening";  in  1862,  "The  Gleaner's  Return"; 
in  1863,  "  Over  the  Muir  among  the  Heather  ";  in  1864,  "  Banks  and 
Braes"  ;  in  1866,  "The  Sheep  from  the  Goats";  in  1867,  "The 
Heights  of  Abruzzi"  ;  in  1869,  "Peasants  on  the  Mountains  on  their 
Way  to  Rome";  in  1871,  "Rest  by  the  Way  "  ;  in  1873,  "Over  the 
Heath";  in  1874,  "Through  the  Barley";  in  1875,  "Hoppers  on 
the  Road"  ;  in  1877,  "The  Hay-Field  "  and  "In  the  Leafy  Month  of 
June  "  ;  in  1878,  "  The  Peasant's  Homestead."  In  1862  he  went  to 
Italy,  spending  his  winters  until  1867  in  Rome.  His  summer  home 
is  in  Surrey. 

"This  is  a  landscape,  however,  and  if  it  were  more  lightly  painted,  we  might  be  very 
happy  with  it  ['  Hoppers  on  the  Road '].  William  Linnell  cares  no  more  than  his  father 
for  brush  dexterity  ;  but  he  does  no  worse  now  in  that  part  of  the  business  than  every 
one  else.  And  what  a  relief  it  is  for  any  wholesome  human  sight,  after  sickening  itself 
among  the  blank  horrors  of  dirt,  ditch-water,  and  malaria,  which  the  imitators  of  the 
French  schools  have  begrimed  our  various  exhibition  walls  with,  to  find  once  more  a 
bit  of  blue  in  the  sky  and  a  glow  of  brown  in  the  coppice,  and  see  that '  Hoppers  '  in  Kent 
can  enjoy  the  scarlet  and  purple  like  empresses  and  emperors."  —  Ruskin's  Notes  of 
the  Academy,  1875. 

Linton,  William.  (Brit.)  Born  in  Liverpool,  towards  the  end 
of  the  last  century.  Died,  1876.  Brought  up  to  mercantile  pursuits 
in  his  native  town,  he  devoted  himself  to  art  in  his  leisure  moments, 
and  finally  decided  to  adopt  it  as  a  profession.  He  settled  in  London, 
and,  traveling  extensively,  he  executed  many  landscapes  and  pic- 
tures of  a  genre  character.    He  exhibited  his  first  work  in  1819,  "  The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  71 


Joiner's  Shop,"  followed  by  "  Italy,"  "Lake  Lugano,"  "  Bay  of  Na- 
ples," "Ruins  of  Psestum,"  "Temple  of  Minerva  at  Rome,"  "Venice," 
"  The  Tiber,"  "  Lancaster,"  "  Marius  at  Carthage,"  "  Jerusalem  at  the 
Time  of  the  Crucifixion,"  and  others,  many  of  which  have  been  en- 
graved. "  The  Temple  of  Psestum,"  bequeathed  by  Mr,  Linton  to 
the  British  people,  is  in  the  National  Gallery,  London. 

Linton,  William  James,  N.  A.  (Brit.)  Born  near  London,  1812. 
He  studied  under  G.  W.  Bonner,  an  English  engraver,  and  quickly 
established  for  himself  a  reputation  as  an  excellent  draughtsman  on 
wood.  During  his  long  career  he  has  furnished  many  fine  illustra- 
tions for  books  and  periodicals,  both  in  the  United  States  and  in 
Europe.  In  1846  and  '47  he  illustrated  "  History  of  Wood-Engraving" 
for  the  Illustrated  London  News  ;  in  1860,  "Works  of  Deceased  British 
Painters"  for  the  Art  Union  of  London;  in  1869,  Holland's  "  Katrina"; 
in  1877,  Bryant's  "Flood  of  Years";  in  1878,  "  Thanatopsis,"  etc. 
Since  1867  he  has  been  a  resident  of  the  United  States,  living  for 
some  years  in  New  York ;  he  finally  settled  in  New  Haven,  Ct.,  where 
he  has  opened  a  large  engraving  establishment.  He  is  a  member  of 
the  Artists'  Annuity  Fund  of  England,  a  member  of  the  American 
Society  of  Painters  in  Water-Colors,  and  a  member  of  the  National 
Academy  of  Design,  New  York.  He  paints  occasionally  in  water- 
colors,  but  his  artistic  fame  will  rest  upon  his  exquisite  engraving. 
Mr.  Linton  is  known  also  as  an  editor  and  author.  In  1851,  with 
others,  he  founded  the  London  Leader  ;  in  1855  was  manager  of 
Pen  and  Pencil,  and  has  contributed  to  the  Nation,  Spectator,  West- 
minster Review,  etc.  In  1865  he  published  a  volume  entitled 
"  Claribel  and  other  Poems  "  ;  lie  is  the  author  of  a  Life  of  Thomas 
Paine.  "  The  Engraver,  his  Function  and  Status,"  by  Linton,  ap- 
peared in  Scribner's  Monthly,  June,  1878. 

Mrs.  Linton  is  the  writer  of  a  book  called  "  The  Lake  Country," 
published  in  1864,  which  was  illustrated  by  her  husband,  who  fur- 
nished both  the  drawings  and  engravings. 

"Messrs.  Ticknor  &  Fields  have  also  published  a  pretty  little  juvenile  entitled  'The 
Flower  and  the  Star,'  the  joint  composition  of  the  pen  and  pencil  of  Mr.  W.  J.  Linton, 
the  well-known  English  engraver,  which  pen  and  pencil  we  are  tempted  to  apostrophize 
in  the  words  of  Milton,  viz.  '  Blest  pair  of  Sirens.'  There  are  six  stories  in  Mr.  Linton's 
little  quarto,  all  original,  ....  and  there  are,  we  should  judge,  three  or  four  times  as 
many  illustrations  as  there  are  stories  ;  and  most  exquisite  they  are.  In  the  first  place, 
they  suggest  the  designs  of  no  other  artist,  American,  English,  French,  or  German  ;  in 
the  second  place,  they  are  wonderfully  graceful,  fantastic,  and  airy.  Mr.  Linton's  foliage, 
and,  indeed,  his  scenery  generally,  is  almost  beyond  our  praise,  if  only  for  the  reason 
that  we  are  at  a  loss  whether  to  bestow  it  on  the  artist  or  the  engraver."  —  Albion. 

"Mr.  Linton  is  known  as  the  best  of  living  engravers,  and  as  an  artist  of  remarkable 
ability.  The  illustration  of  this  charming  little  story  will  more  than  sustain  his  reputa- 
tion in  this  respect,  and  the  story  itself  ['  The  Flower  and  the  Star ']  ought  to  make 
him  widely  known  as  a  writer  who  understands  just  how  to  write  for  children."  —  Nevj 
York  Citizen. 

"  There  are  several  wood-engravers  of  remarkable  talent,  but  none  succeed  in  giving 
to  the  woodblock  more  than  was  placed  upon  it  by  the  draughtsman.    Their  greatest 


72       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


success  is  attained  in  leaving  the  drawing  no  worse  than  they  found  it  More  can  be 
done  if  you  happen  to  have  a  little  real  genius,  and  Mr.  Linton  is  happy  in  the  possession 
of  that  quality. "  —  Pall  Mall  Gazette. 

Linton,  James  D.  {Brit.)  Born  in  London,  1840.  He  received 
his  art  education  in  St.  Martin's  School  of  Art,  Longacre,  and  under 
Mr.  Leigh  on  Newman  street,  spending  his  professional  life  in  his 
native  city.  He  has  been  a  member  of  the  Institute  of  Painters  in 
Water-Colors  since  1867,  contributing  regularly  to  its  annual  exhibi- 
tions. Among  his  more  important  works  are,  "  Washing  the  Beggars' 
Feet  on  Maunday  Thursday,"  in  1874;  "Lotus-Eaters"  and  "Off 
Guard,"  in  1875  ;  "  The  Cardinal  Minister,"  in  1876  ;  "  Ave  Maria," 
in  1877  ;  "  Emigres,"  in  1878  ;  and  "  The  Flag  of  Truce,"  never  ex- 
hibited. His  "  Washing  the  Beggars'  Feet  "  was  at  the  Philadelphia 
Exhibition  of  1876  ;  "  Off  Guard,"  "  The  Cardinal  Minister,"  and 
"  Ave  Maria,"  at  Paris,  in  1878. 

"  In  Linton's  '  Volumnia '  the  figures  are  well  arranged,  the  face  of  Volumnia  reveal- 
ing much  of  the  fiery  nature  ascribed  to  her,  whilst  that  of  Virgilia  combines  sweetness 
with  grief.  '  His  Eminence  the  Cardinal '  was  one  of  the  most  important  and  striking 
works  in  the  Exhibition  of  the  Institute  of  Water-Color  Painters  last  year."  — Art  Jour- 
nal, May,  1877. 

Liparini,  Ludovico.  (Ital.)  Born  at  Bologna  (1800- 1856).  Pro- 
fessor in  the  Academy  of  Venice,  of  which  he  was  also  a  pupil.  He 
traveled  in  Italy  and  studied  the  old  masters.  His  pictures  were  por- 
traits and  historical  subjects,  and  are  seen  in  the  galleries  of  Italy. 
Among  the  most  important  are,  the  "  Death  of  Bozzaris,"  the  "  Last 
Hours  of  Marino  Faliero,"  the  "  Horatii  taking  the  Oath,"  and  a  por- 
trait of  Pius  VII. 

Lippincott,  William  H.  {Am.)  A  native  of  Philadelphia.  He 
has  been  for  some  time  a  resident  of  Paris,  studying  under  Bonnat. 
He  devotes  himself  to  portraits  and  pictures  of  child-life,  exhibiting 
in  the  National  Academy  of  New  York  and  the  Paris  Salons.  To 
the  latter  in  1878  he  sent  "  Lolotte"  (belonging  to  Dr.  G.  D.  Cochran) 
and  a  portrait  of  "  Miss  Ethel."  To  the  Philadelphia  Exhibition  of 
1876  he  sent  "The  Duck's  Breakfast  "  ;  to  the  Paris  Exposition,  1878, 
two  portraits  ;  and  in  the  same  year  to  the  Society  of  American  Artists 
in  New  York  and  to  the  Mechanics'  Fair,  Boston,  he  contributed  "  The 
Little  Prince." 

Lloyd,  Thomas.  {Brit.)  Contemporary  English  landscape-artist, 
.residing  in  London.  He  contributes  to  the  Royal  Academy,  and  to 
the  Society  of  Painters  in  Water-Colors,  of  which  he  was  elected  an 
Associate  in  1878.  Among  his  works,  in  oil,  are,  "  Nearly  Home," 
"  An  Hundred  Years  Ago,"  "  A  Pastoral,"  "  Evening,"  etc.  In  water- 
colors  he  has  exhibited,  "  Fast  falls  the  Eventide,"  "  Up  the  River," 
"  So  Tired,"  "  Shade,"  "  Sunshine,"  and  others. 

' '  In  the  '  Pastoral '  [R.  A. ,  1877]  the  lighting  up  of  the  hill  beyond  is  remarkably 
like  nature,  and  '  Nearly  Home '  is  very  faithful  to  rural  circumstances  as  well  as  nat- 
ural fact  This  artist  is  making  rapid  strides,  and  bids  fair  to  become  one  of  our 

great  landscape-painters."  —  Art  Journal,  August,  1877. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  73 


Lockhart,  W.  E.  (Brit.)  Born  in  Dumfrieshire,  1846.  He 
entered  the  Trustees  Academy  in  1860,  studying  under  Robert  Scott 
Lauder.  In  1863  he  went  to  Sydney,  and  in  1867  to  Spain,  exhibit- 
ing in  1868  his  first  Spanish  picture,  "  The  Lovers'  Quarrel/*'  He 
has  made  frequent  visits  to  Spain,  spending  some  months  in  1875  on 
the  island  of  Majorca,  where  he  painted  his  "  Orange  Harvest."  He 
was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1871,  a 
full  Member  in  1878,  and  also  in  the  latter  year  an  Associate  of  the 
Society  of  Painters  in  Water-Colors.  His  studio  is  in  Edinburgh. 
Among  his  works  may  be  mentioned,  "  The  Muleteers'  Halt,"  "  The 
Queen's  Entry  into  Edinburgh  in  1876,"  "  St.  Andrews,"  "  A  Scene 
from  the  Legend  of  Montrose,"  "  The  Interior  of  Roslyn  Chapel," 
etc.  To  the  Royal  Scottish  Academy  in  1878  he  sent  "  The  Bride 
of  Lammermoor,"  "  Gil  Bias  and  the  Archbishop  of  Granada,"  "  Sun- 
set at  St.  Andrews,"  etc.  ;  to  the  Water-Color  Exhibition,  London, 
1878,  "  The  Trongate,  Glasgow,"  "  Summer  Palace  at  the  Hague," 
"  The  Jackdaw  of  Rheims,"  and  others. 

Loefftz,  Ludwig.  Munich.  Medal  at  the  National  Exhibition, 
Munich.  A  few  years  since  this  artist  was  a  paper-hanger.  He  has 
now  a  school  for  drawing.  He  is  one  of  the  important  men  in  the 
rising  German  school.  His  color,  drawing,  and  composition  are 
praised  by  critics  familiar  with  his  Works.  At  the  Paris  Exposition 
of  1878  he  exhibited  "  A  Cardinal,"  belonging  to  Mme.  de  Gradinger, 
Munich. 

Loison,  Pierre.  {Ft.)  Born  at  Mer,  1821.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  David  d' Angers.  He  made  his  debut  at 
the  Salon  of  1845.  His  bronze  figure  of  "  Victory, — the  Day  after  the 
Combat"  (1869)  is  at  the  Luxembourg.  The  statue  of  "Clovis"  is 
at  the  tower  of  Saint-Germain-l'Auxerrois.  A  bas-relief  of  "  Agri- 
culture distributing  Crowns  to  the  Children  of  La  Beauce  and  La 
Sologne "  is  at  the  grain-market  of  Mer.  Several  statues  by  Loison 
are  in  the  churches  of  the  Trinity  and  of  Saint- Ambrose.  "  Venus  " 
and  "  Navigation  "  are  at  the  Tuileries.  He  has  executed  many  por- 
traits, and  a  variety  of  poetical  and  mythological  subjects.  At  the 
Salon  of  1877  he  exhibited  "ACanephora  offering  Fruits";  in  1875, 
two  portrait  busts  ;  etc. 

Lombardini,  Gaetano.  (Ital.)  Born  at  St.  Arcangelo,  in  Ro- 
magna  (1801-  1869).  A  devoted  student,  he  gained  prizes  in  every 
competition.  Canova  was  his  master  for  a  time,  and  gave  his  appro- 
bation to  the  "  Hercules  strangling  Antaeus,"  by  Lombardini.  A  fine 
work,  a  monument  with  the  figure  of  an  aged  paralytic,  is  in  the 
cemetery  of  Cesena  ;  a  fine  figure  of  Christ,  in  the  same  place,  is  con- 
sidered by  artists  as  sufficient  to  give  him  fame.  This  sculptor  is  a 
brave  patriot,  and  has  served  his  country  well. 

Long,  Edwin,  R.  A.  (Brit.)  He  has  resided  in  London  for 
many  years,  exhibiting  regularly  at  the  Royal  Academy,  of  which  he 

VOL.  II.  4 


74       ARTISTS  OF  THE  NINETEENTH  CENTdRY. 


was  made  Associate  in  1876.  Among  his  pictures  are,  "  La  Posada,"  in 
1864  ;  "  Lazarilla  and  the  Blind  Beggar,"  in  1870  ;  "  The  Suppliants," 
in  1872  ;  "  Babylonian  Marriage  Market,"  in  1875  ;  "  Bethesda,"  in 
1876  ;  "  An  Egyptian  Feast,"  in  1877  ;  "  The  Gods  and  their  Makers  " 
and  "  Henry  Irving  as  Gloucester,"  in  1878.  [E.  A.,  1881.] 
[No  response  to  circular.] 

"  'The  Babylonian  Marriage  Market'  is  a  picture  of  great  merit,  and  well  deserving 
purchase  by  the  Anthropological  Society.  The  varieties  of  character  in  the  heads  are 
rendered  with  extreme  subtlety,  while  as  a  mere  piece  of  painting  the  work  is  remarkable 
in  the  modern  school  for  its  absence  of  affectation.  There  is  no  insolently  indulged  in- 
dolence nor  vulgarly  asserted  dexterity.  The  painting  is  good  throughout  and  obtru- 
sively powerful."  —  Ruskin's  Notes  of  the  Academy,  1875. 

"  '  The  Egyptian  Feast'  will  at  once  attract  attention  as  the  only  subject-picture  of 
the  year  of  great  importance,  and  in  this  the  interest  is  archaeological  rather  than  human. 
The  picture  which  represents  the  close  of  a  banquet  with  the  guests  seated  in  a  semi- 
circle, while  two  slaves  drag  a  mummy  round  to  remind  them  of  death,  has  many  fine 
qualities,  and  shows  much  study  and  improvement  in  the  painter."  —  Saturday  Review, 
May,  1877. 

"  Mr.  Long's  treatment  of  the  human  form  halts  midway  between  two  modes  of  design 
not  consistent.  It  is  too  artificial  to  have  the  familiar  charm  proper  to  a  painting  of 
genre,  and  it  is  not  sufficiently  select  in  its  choice  of  gesture,  not  serious  enough  in  its 
conception  of  beauty,  to  satisfy  the  requirements.  In  depicting  upon  the  faces  of  the 
assembled  guests  [in  '  An  Egyptian  Feast']  the  varied  emotions  aroused  by  the  image  of 
death,  the  painter's  invention  sinks  still  further  below  the  demands  of  his  subject. 
There  is  variety  of  feeling,  but  it  is  everywhere  expressed  with  too  much  emphasis  ;  and 
the  gravity  of  the  few  who  closely  surround  the  bier  is  almost  mechanically  contrasted 
with  the  gayety  of  others  removed  from  its  influence  in  a  manner  suggestive  of  well- 
planned  theatric  effect. "  —  Pall  Mall  Gazette,  May,  1877. 

"Of  Mr.  Long's  work,  whether  in  composition  or  portrait,  only  one  opinion  will  be 
held  this  year,  probably,  and  this  will  pronounce  that  the  artist,  after  the  slight  weak- 
ness of  last  year's  work,  has  put  out  all  his  power  of  drawing  and  modeling,  and  has 
gained  greatly  in  sureness.  The  extreme  refinement  in  color  in  '  The  Gods  and  their 
Makers  '  is  very  pleasing  ;  different  tones  of  flesh  are  relieved  only  by  darker  or  lighter 
blue-greens,  except  in  the  case  of  the  negress  who  wears  a  red  necklace,  the  only  bit  of 
primary  color  in  the  picture.  This  group  of  Egyptian  girls  is  full  of  fun  and  charm  ;  the 
background  tones  are  delicately  varied.  '  Henry  Irving  as  the  Duke  of  Gloucester '  is 
altogether  a  noble  portrait."  —  Magazine  of  Art,  June,  1878. 

Longfellow,  Ernest  W.  (Am.)  Born  in  Cambridge,  Mass.,  1845. 
Son  of  Henry  W.  Longfellow.  Landscape  and  portrait  painter.  His 
professional  life  has  been  spent  in  Boston,  with  frequent  visits  to 
Europe.  He  passed  the  winter  of  1865  and  '66  in  Paris  in  work  and 
study,  and  the  summers  of  1876  and  '77  in  Villiers-le-Bel  under  Cou- 
ture. A  number  of  his  works  were  exhibited  and  sold  in  Boston  in 
1876.  His  "  Coast  Scene,  Nahant  "  was  at  the  National  Academy  in 
1871  ;  "A  View  in  Essex  County,  Mass.  "  in  1875.  He  sent  to  the 
Philadelphia  Exhibition,  in  1876,  "  Old  Mill  at  Manchester,  Mass." 
J.  Duff  owns  his  "  Italian  Pines  in  Cannes."  His  "John  and  Priscilla," 
exhibited  at  Williams  &  Everett's,  Boston,  in  1875,  attracted  much 
attention.  It  represents  the  Puritan  youths  strolling  on  the  beach,  the 
water  rolling  its  breakers  nearly  to  their  feet,  and  the  sun  setting  brill- 
iantly in  the  background.    It  was  one  of  his  earlier  efforts  at  figure- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  75 


painting,  a  branch  of  the  art  to  which  of  late  he  has  more  particularly 
turned  his  attention.  The  Art  Journal  of  July,  1877,  says  :  "  Ernest 
Longfellow  is  one  of  our  rising  young  artists.  It  is  evident  that  his 
special  talent  lies  in  landscape  art."  Very  few  of  his  figure-pieces 
or  portraits  have  as  yet  been  exhibited. 

Loop,  Henry  A.,  N.  A.  (Am.)  Born  at  Hillsdale,  N.  Y.,  1831. 
Settled  in  New  York  City  in  1850,  studying  for  a  year  with  Henry 
Peters  Gray.  In  1856  he  went  to  Paris,  where  he  entered  the  atelier 
of  Couture,  remaining  six  months,  and  spending,  subsequently,  a  year 
in  study  in  Eome,  Venice,  and  Florence.  He  went  abroad  again  in 
1867,  visiting  the  Continental  art  cities  and  remaining  about  eighteen 
months.  With  these  exceptions  his  professional  life  has  been  spent 
in  New  York.  He  was  elected  a  member  of  the  Academy  of  Design 
in  1861.  He  is  a  member  also  of  the  Artists'  Fund  Society.  Among 
his  ideal  works  are,  "  Undine,"  in  the  National  Academy  in  1863  ; 
"Clytie,"  in  1865  ;  "The  Improvisatrice  "  and  "  Italian  Minstrel,"  in 
1869  ;  "  Lake  Maggiore,"  in  1870  ;  "  The  White  Rose,"  in  1871  ;  "  Idle 
Fancies,"  in  1874  ;  "  Venice,"  in  1875  (belonging  to  John  J.  Cisco)  ; 
"  Aphrodite "  (belonging  to  C.  P.  Huntington)  and  "  iEnone "  (to 
Oliver  Harriman),  in  1877  ;  "  Hermia,"  "  Marina,"  and  a  portrait,  in 
1878. 

Loop's  "  Italian  Minstrel "  was  in  the  Paris  Salon  of  1868  ;  his 
"Aphrodite"  in  the  Centennial  Exhibition  of  1876.  Among  his 
portraits  are  those  of  J.  M.  Ward,  W.  Whittredge,  and  Dr.  Reisig  of 
New  York. 

"A picture  [by  H.  A.  Loop]  of  'Undine  '  standing  by  the  water,  whose  child  she  was, 
is  full  of  varied  loveliness,  the  ethereality  of  the  sprite  being  finely  given  by  a  luminous 
quality  of  flesh  which  makes  the  delicate,  graceful  body  half  transparent,  and  by  a  man- 
agement of  the  pale  golden  hair  with  the  shrouded  light  behind  it  that  almost  gives  one 
the  sensation  of  a  phosphorescent  glow.  Few  pictures  of  the  supernatural  exhibited 
here  have  ever  exceeded  this  '  Undine'  in  sweetness  of  conception  or  subtlety  of  man- 
agement. "  —  New  York  Evening  Post,  June  1,  1863. 

"  Loop's  full-length  portrait  of  J.  P.  Townsend  [N.  A.,  1876]  is  a  firmly  painted  and 
expressive  work.  The  likeness  is  admirable,  and  in  spirit  and  expression  it  is  not  ex- 
celled by  any  work  in  the  Exhibition."  —  Art  Journal,  May,  1876. 

Loop,  Mrs.  Henry  A.,  A.  N.  A.  (Am.)  Born  in  New  Haven, 
1840.  She  began  her  art  studies  under  Prof.  Louis  Bail,  in  her  na- 
tive city  ;  later,  entered  the  studio  of  her  husband  in  New  York, 
and  spent  two  years  at  work  and  in  study  in  Rome,  Paris,  and  Venice. 
Her  professional  life  has  been  spent  in  New  Haven  and  New  York. 
She  was  elected  an  Associate  of  the  National  Academy  in  1875,  and 
has  for  some  years  been  a  frequent  contributor  to  its  exhibitions. 
Among  the  more  important  of  her  works  are  portraits  of  Professor 
Larned  and  Professor  Hadley  of  New  Haven  ;  of  Miss  Alexander, 
Miss  Harriman,  Mrs.  Joseph  Low,  and  others  in  New  York  ;  and 
ideal  figures,  entitled  "  Baby  Belle "  (owned  in  Newburg,  N.  Y.), 

Little  Runaway  "  (owned  by  Mr.  St.  John  of  New  York),  "  A 
Bouquet  for  Mamma  "  (in  the  possession  of  a  lady  in  Detroit),  etc. 


76       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  We  have  not  many  better  portrait-painters  than  this  lady  [Mrs.  Loop]  in  our  country. 
That  she  had  ability  was  evident  in  the  first  picture  she  exhibited,  and  from  the  first  she 
has  steadily  and  solidly  improved.  ....  Mrs.  Loop's  picture  is  an  honest,  unpretending 
work,  well  drawn,  naturally  posed,  and  clearly,  solidly  colored.  There  is  not  a  trace  of 
affectation  about  it ;  the  artistic  effects  are  produced  in  the  most  straightforward  way. 
The  weak  point  is  the  eyes,  which,  to  our  thinking,  want  lighting  up  a  little  ;  they  are 
good  in  color  and  expression,  but  not  liquid  enough."  — C.  C,  in  New  York  Tribune, 
April  24,  1874. 

"  Mrs.  Loop  is  certainly  the  leading  portrait-painter  among  our  lady  artists.  Indeed, 
so  highly  respected  is  her  brush  that  she  has  been  chosen  to  furnish  pictures  of  some  of 
our  former  chief  custom-house  officers,  whose  portraits  were  voted  to  hang  on  the  walls 
of  their  rotunda.  She  is  vigorous,  conscientious,  aud  perceptive."  —  Chicago  Times, 
May  25,  1875. 

Loose,  Basile  de.  (Ger.)  Born  at  Zeele,  1809.  Studied  under 
his  father,  and  at  the  Antwerp  Academy,  In  1835  he  went  to  Paris. 
Settled  at  Brussels.  In  the  National  Gallery  at  Berlin  are  his  "  Scene 
at  an  Inn  "  and  "  A  Family  Scene  in  Holland."  At  the  Leipsic  Mu- 
seum are  "  A  Dance  of  Children  "  and  "  The  Lace-Maker." 

Lossow,  Arnold  Hermann.  (Ger.)  Died  at  Munich  (1805- 
1874).  This  sculptor  was  one  of  Schwanthaler's  best  pupils,  and  exe- 
cuted much  work  for  Louis  I.  of  Bavaria.  His  friezes  and  statues  at 
the  Walhalla  and  Glyptothek  are  greatly  admired. 

Lossow,  Friedrich.  (Ger.)  Born  at  Munich  (1838  -  1872).  Son 
of  the  preceding.  He  was  an  animal-painter,  and  there  was  a  vein 
of  humor  running  through  his  pictures  which  was  very  attractive. 
Among  his  works  are,  "  A  Hound  with  her  Young,"  "  A  House  Dog," 
several  pictures  with  rats,  "  A  Country  Scene,"  etc.  His  drawing 
was  better  than  his  color.  Perhaps  his  best  works  are  his  illustrations 
for  books  and  publications,  which  are  numerous. 

Lough,  John  Graham.  (Brit)  Born  in  the  latter  part  of  the 
eighteenth  century.  Died,  1876.  Son  of  a  small  farmer  of  Northum- 
berland, apprenticed  to  a  stone-mason  in  his  native  country,  he  became 
an  ornamental  sculptor  and  builder  at  Newcastle.  Studied  the  El- 
gin marbles  in  the  British  Museum,  and  first  exhibited  at  the  Royal 
Academy,  in  1826,  "  The  Death  of  Turnus,"  in  bas-relief.  "  Duncan's 
Horse,"  a  more  famous  work,  appeared  in  1832.  In  1834  he  went 
to  Italy,  spending  four  years.  Among  his  works  are,  "  Night's  Swift 
Dragon,"  "  The  Mourners,"  "  Midsummer  Night's  Dream,"  and  the 
statue  of  the  Queen  (in  the  Royal  Exchange,  London),  of  Prince  Al- 
bert (at  Lloyd's),  the  Monument  to  Southey  (at.Keswick),  and  a  colos- 
sal statue  of  George  Stephenson  (in  bronze,  at  Newcastle-on-Tyne). 
His  "  Milo  and  Samson  "  belonged  to  the  first  Duke  of  Wellington. 

Louvrier  de  Lajolais,  Jacques- Auguste-Gaston.  (Fr.)  Born 
at  Paris.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gleyre  and 
J.  Noel.  At  the  Salon  of  1876  be  exhibited  "For  a  Fete"  and  "A 
Difficult  Passage." 

Low,  Will  H.  (Am.)  Born  in  Albany,  N.  Y.,  1853.  A  pro- 
teg6  of  E.  D.  Palmer  the  sculptor,  from  whom  he  received  encourage- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  77 


ment  and  advice.  He  worked  for  the  illustrated  papers  in  New  York 
from  1871  to  '73,  when  he  went  to  Paris  and  entered  the  studio  of 
Gerome,  remaining  a  few  months.  Later,  he  studied  with  Carolus 
Duran  for  four  years,  returning  to  America  in  1877.  He  is  a  member 
of  the  Society  of  American  Artists.  Among  his  most  important  works 
are,  "Windy  Weather"  (1875),  belonging  to  Arthur  Haseltine,  Lon- 
don ;  "  Reverie,  —  Time  of  the  First  Empire  "  (Paris  Salon,  1876,  and 
the  National  Academy,  N.  Y.,  1877),  belonging  to  J.  B.  Thatcher  of 
Albany ;  portrait  of  Mile.  Albani  (Paris  Salon,  1877),  belonging  to 
Robert  Higgins  of  Albany  ;  "  Among  the  Daisies,"  belonging  to  Sir 
Walter  Simpson  of  Edinburgh  (at  the  Paris  Exposition  of  1878) ;  etc. 

Lucas,  John.  (Brit.)  Born  in  London  (1807- 1874).  As  a  lad, 
he  was  apprenticed  to  an  engraver,  but  devoted  his  leisure  hours  to 
study,  and  began  the  practice  of  his  profession  in  1829  as  a  portrait- 
painter.  Many  of  the  most  distinguished  people  of  England  were 
among  his  subjects.  Among  his  better  known  works  have  been  four 
pictures  of  the  Prince  Consort,  several  of  the  Princess  Royal,  of  the 
Duke  of  Wellington,  King  of  Hanover,  Rogers  the  poet,  Gladstone, 
and  others.  He  also  painted  a  portrait  group  of  Stephenson,  Locke, 
Brunei,  and  other  eminent  engineers  in  consultation  over  the  Menai 
Bridge.    Some  sixty  of  John  Lucas'  portraits  have  been  engraved. 

Luccardi,  Vincenzo.  (Ital.)  Born  at  Gemona  (1811-  1876). 
Knight  of  the  Orders  of  St.  Gregory  the  Great,  and  of  the  Piano. 
Chevalier  of  the  Legion  of  Honor.  Professor  in  the  Academy  of  St. 
Luke  and  other  Italian  institutes.  Prizes  at  Florence  and  Vienna. 
Nine  medals  at  Venice.  Studied  at  Venice,  and  settled  at  Rome. 
Among  his  best  works  are,  "  Cain,"  "  The  Deluge,"  "  Raphael  and 
the  Fornarina,"  "  Hagar  and  Ishmael,"  "  Cleopatra,"  and  "  Aida."  At 
Munich,  in  1870,  he  exhibited  a  "  Venus  "  and  "  The  Four  Seasons." 

Lucy,  Charles.  (Brit)  Born  near  Herford  (about  1804  -  1873). 
At  an  early  age  he  went  to  London  to  study  art,  but,  leaving  for 
Paris  after  a  short  time,  entered  l'^Icole  des  Beaux- Arts,  studying  also 
under  Paul  Delaroche.  He  subsequently  became  a  pupil  of  the  Royal 
Academy,  London.  He  was  a  constant  exhibitor  at  the  Royal  Acad- 
emy of  original  historical  paintings,  besides  making  many  realistic 
copies  of  the  old  masters,  residing  for  upwards  of  sixteen  years  near 
Fontainebleau.  In  1860  he  sent  to  the  Royal  Academy,  London, 
"  Lord  Saye  and  Sele  arraigned  in  1451  before  Jack  Cade  "  ;  in  1863, 
"  The  Reconciliation  between  Gainsborough  and  Sir  Joshua  Reynolds  "  ; 
in  1865,  "  Garibaldi  at  the  Tomb  of  Ugo  Foscolo"  ;  in  1867,  "  The 
Intercepted  Embarkation  of  John  Hampden  and  his  Friends "  ;  in 
1868,  "  The  Forced  Abdication  of  Marie  Stuart  at  Lochleven  Castle"  ; 
in  1869,  "  Noontide  Repose"  and  a  portrait  of  Mr.  Gladstone  ;  in  1871, 
tl  Charlotte  Corday  returning  to  Prison  after  her  Condemnation  "  ;  in 
1872,  "  Columbus  at  the  Monastery  of  La  Rabida"  ;  in  1873,  "  The 
Parting  of  Lord  William  and  Lady  Russell  in  1683." 


78       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"Mr.  Lucy's  '  Reconciliation  of  Reynolds  and  Gainsborough,'  like  other  pictures  of  this 
thoughtful  and  conscientious  artist,  interesting  and  unaffected  in  idea,  does  not  aim  at 
richness  or  relief,  —  qualities  which,  however,  a  painter  can  rarely  afford  to  dispense 
with."  —  Palgrave's  Essays,  on  Art. 

"  If  Mr.  Lucy  failed  to  acquire  a  distinguished  name  in  the  roll  of  painters,  it  was 
not  for  want  of  perseverance  or  from  the  absence  of  talent,  although  it  might  not  have 
been  of  the  highest  order.  In  noticing  his  exhibited  work3  during  many  past  years  we 
have  endeavored  to  render  justice  to  the  merits  of  his  pictures,  which  seldom  or  never 
failed  to  be  popular,  as  much  for  the  interest  attached  to  the  subjects  he  selected  as  for 
the  pleasing  and  conscientious  manner  in  which  they  were  carried  out. "  —  Art  Journal., 
July,  1873. 

Luminals,  Evariste-Vital.  (Fr.)  Born  at  Nantes,  about  1818. 
Chevalier  of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil 
of  Cogniet  He  paints  "both  in  oil  and  in  water  colors  ;  and  has 
painted  a  few  portraits  and  made  many  sketches.  At  the  Salon  of 
1877  he  exhibited  "A  toute  volee"  and  "A  Prisoner  in  Might" 
(oils),  and  "  The  Tame  Bull "  and  "  Pirates  »  (water-colors)  ;  in  1876, 
"  The  Consequences  of  a  Duel  in  1625"  ;  in  1875,  "  King  Morvan  " 
and  "A  Flock  carried  off  to  the  Enemy."  " The  Reluctant  Bather" 
is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston. 

"  Formerly  Luminals  affected  the  contrasts  and  the  play  of  light  and  shade  on  pictu- 
resque costumes  and  uneven  ground  ;  at  present  he  seeks  rather  the  movement  and  ac- 
tion of  the  human  figure,  and  places  at  the  service  of  bold  conscientious  drawing  the 
prestige  of  large  execution  and  brilliant  color,"  —  J.  Grangedor,  Gazette  des  Beaux- Arts, 
July,  1868. 

Ittmdgren,  Egron.  (Swede.')  (1816-1875.)  Received  his  art 
education  in  Paris,  where  he  lived  and  studied  for  four  years.  He 
painted  also  during  four  years  in  Italy,  and  for  five  years  in  Spain.  Was 
made  a  Knight  of  the  Order  of  Gustavus  Vasa  by  the  King  of  Sweden. 
Settled  in  London  in  1853,  and  was  upon  the  staff  of  Lord  Clyde  in 
India,  where  he  made  many  valuable  sketches.  He  was  one  of  the 
leading  members  of  the  Society  of  Painters  in  Water-Colors,  contrib- 
uting to  their  gallery  in  London,  in  1873,  "  Italian  Music,"  "  The 
Traveling  Companions,"  and  "  A  Child's  Head,"  ;  in  1875  (the  year 
of  his  death),  "  Rafaela  "  and  "  Children  Playing." 

Lupton,  Thomas  G-off.  (Brit.)  (1790-1873.)  He  was  appren- 
ticed to  a  mezzotint  engraver  at  an  early  age,  and  during  his  career 
has  engraved  the  portraits  of  many  distinguished  men  after  the  lead- 
ing portrait-painters  of  his  day,  besides  "  Sunrise,  —  Pishing  off  Mar- 
gate "  and  "  Eddy  stone  Lighthouse,"  after  Turner,  and  other  important 
landscapes  of  eminent  artists. 

Lynn,  Samuel  Ferris.  (Brit.)  Native  of  Ireland.  Died,  1876. 
Studied  in  Belfast  under  his  brother,  an  architect,  and  in  the  Royal 
Academy,  London.  In  1857  be  received  the  silver  medal  for  the  best 
study  from  life,  and  in  1859  the  Academy  gold  medal  for  the  best 
historical  composition.  Resided  in  London  until  1875,  and  was  a 
constant  exhibitor  of  portrait  and  ideal  statues,  statuettes,  and  busts. 
Among  these  may  be  mentioned,  u  Evangeline,"  "  The  Death  of  Pro- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


79 


cris,"  "  Master  Magrath  "  (the  famous  hound  of  Lord  Lurgan),  "  The 
First  Prayer,"  and  portraits  of  many  eminent  contemporary  Irishmen. 

Macallum,  Hamilton.  (Brit)  Born  at  the  Kyles  of  Bute,  1843. 
He  entered  the  Royal  Academy,  London,  in  1865,  and  has  a  studio 
in  the  English  metropolis.  Among  his  works  are,  "  Shrimping," 
"  Waiting  for  the  Ebb,"  "  The  Kyles  of  Bute,"  etc.  His  "  Gathering 
Seaweed  on  the  West  Coast  of  Scotland  "  was  at  the  Paris  Exposition 
of  1878. 

Macbeth,  Norman.  (Brit)  A  native  of  Aberdeen.  Portrait- 
painter,  spending  his  professional  life  in  Edinburgh,  where  his  work 
is  highly  regarded.  He  has  been  for  some  years  an  Associate  of  the 
Royal  Scottish  Academy.  He  has  executed  many  presentation  por- 
traits of  distinguished  clergymen,  and  others,  for  the  public  institutions 
of  Scotland.  Among  his  sitters  have  been  Dr.  Guthrie,  Dr.  John 
Brack,  Dr.  Begg,  Dr.  Cunningham,  etc.  He  exhibits  frequently  in 
London.  His  portrait  of  Sir  John  Steell,  R.  S.  A.,  was  at  the  Royal 
Academy  in  1877,  and  at  the  Royal  Scottish  Academy  the  following 
year.  He  sent  a  portrait  of  William  Forrest,  A.  R.  S.  A.,  to  the  Paris 
Exposition  of  1878.    [R.  S.  A.,  1880.] 

Macbeth,  R.  W.,A.R.  A.  (Brit.)  Born  in  Glasgow,  1848.  Son 
of  Norman  Macbeth,  A.  R.  S.  A.,  a  Scottish  portrait-painter.  R.  W. 
Macbeth  studied  in  the  Royal  Academy,  and  has  since  practiced  his 
profession  in  London.  He  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colors  in  1871,  exhibiting  there  and  in  the  Royal 
Academy  pictures  generally  genre  in  character,  and  relating  often  to 
modern  life.  In  1877  he  sent  to  the  Royal  Academy,  "  Potato  Harvest 
in  the  Fens"  ;  in  1878,  "  Sedge-Cutting  in  Wicken  Fen,  Cambridge- 
shire, —  Early  Morning  "  (both  in  oil).  Among  his  water-color  draw- 
ings may  be  mentioned,  "  Linked  Names,"  "  Land  at  Last,"  "  News," 
"  A  Winter's  Walk,"  "  Motherly  Indulgence,"  "  The  Morning  Post," 
"  The  Ghost  Story,"  "  Lady  Bountiful,"  etc.  His  "  Evening  Hour  " 
and  "Favorite  Customer"  were  at  the  Glasgow  Loan  Exhibition  of 
1878.  To  the  Paris  Exposition  of  1878  he  sent  the  "  Potato  Harvest 
in  the  Fens  "  and  his  "  Lincolnshire  Gang."    [A.  R.  A.,  1883.] 

"  R.  W.  Macbeth's  '  Potato  Harvest  in  the  Fens  '  maintains  its  well-earned  prestige 
as  one  of  the  principal  attractions  of  the  present  Academy  Exhibition."  —  Art  Journal, 
August,  1877. 

"  Macbeth's  '  Lincolnshire  Gang  '  is  powerfully  rendered  in  color,  drawing,  and  com- 
position." —  Benjamin's  Contemporary  Art  in  Europe. 

Macbeth,  James.  (Brit.)  Son  of  Norman,  and  brother  of  R.  W. 
Macbeth.  He  is  a  native  of  Scotland,  but  has  resided  for  some  time 
in  London,  exhibiting  his  paintings,  landscapes,  figure-pieces,  and  por- 
traits at  the  Royal  Academy,  the  Royal  Scottish  Academy,  the  Dudley 
Gallery,  and  elsewhere.  His  "  Sunny  Day  in  the  Highlands  "  was  at 
the  Royal  Academy  in  1878.  To  the  Paris  Exposition,  the  same  year, 
he  sent  "  Gareloch  on  the  Clyde  "  and  "  The  Moor  at  Whistlefield  " 


80       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(in  oil),  and  "  Sunday  Evening,  Chelsea  Hospital  Gardens  "  (in  water- 
colors). 

Mac  Galium,  Andrew.  (Brit.)  Born  in  Nottingham,  1828.  Stud- 
ied in  the  Government  School  of  Art  in  his  native  city,  and  went  to 
London  in  1849,  when  he  became  a  student  in  the  School  of  Design 
in  Somerset  House.  He  went  to  Manchester  in  1851  as  a  teacher,  and 
was  sent  in  1853  to  Italy,  visiting  Milan,  Florence,  Venice,  Naples,  etc., 
selecting  examples  of  all  kinds  of  mural  paintings  for  the  South  Ken- 
sington Museum.  He  returned  to  England  in  1858,  turning  his  atten- 
tion to  painting  and  opening  a  studio  in  London.  He  had  previously, 
however,  contributed  to  the  Royal  Academy  several  Venetian  sketches. 
In  1868  he  exhibited  "  The  Approach  of  the  Malaria,  Ancient  Rome," 
followed  in  other  years  by  "  A  Moorland  Queen  "  (bought  by  John 
Phillip,  R.  A.),  "  The  Four  Seasons,"  "  The  Harvest  of  the  Wood," 
"The  Vanguard  of  the  Forest,"  "  Rheingrafenstein,  on  the  Rhine," 
"  Rome  from  Monti  Mario,"  "  A  Sand-Drift,  Egypt,"  "  Sunrise,  Plain 
of  Thebes,"  "  Charlemagne  Oak,  Forest  of  Fontainebleau,"  a  series  of 
views  near  Balmoral  (painted  for  the  Queen),  etc.  An  exhibition  of 
thirty-five  of  his  works  in  London,  in  1866,  attracted  much  attention. 
His  "  Sultry  Eve  "  was  at  the  Centennial  Exhibition  at  Philadelphia 
in  1876. 

"  The  power  and  weakness  of  contemporary  landscape-painters  have  never  been  more 
strikingly  exemplified  than  in  the  works  of  MacCallum.  Nobody  ever  drew  the  strength 
of  a  birch-tree  or  the  lightness  of  a  beech  with  more  entire  understanding  of  the  nature 
of  the  tree,  and  the  giants  of  the  forest  were  never  celebrated  by  a  hand  more  faithful 
or  laborious.  ....  But,  notwithstanding  Mr.  MacCallum's  great  power  of  observa- 
tion and  memory  and  realization,  he  has  no  spiritual  p6wer.  Not  one  of  his  pictures 
ever  affects  us  when  we  stand  before  it  or  haunts  us  when  we  have  left  it. "  —  Hamer- 
ton,  English  Painters  of  the  Present  Day. 

"  Although  Mr.  MacCallum  is  essentially  a  tree-painter,  and  revels  in  the  glories  of 
the  wood  and  the  forest,  he  has  produced  works  that  prove  his  labors  have  not  been 
limited  to  such  subjects  ;  his  sylvan  life  has  been  alternated  with  glacial  mountain 
scenery,  with  the  architecture  of  Venice  and  other  places,  and  with  the  arid  deserts  of 
the  East.  In  some  of  the  latter  works  we  see  the  influence  of  poetic  feeling  which  is 
generally  absent  in  his  other  pictures  ;  here  he  is  real  and  naturalistic,  material  and  sci- 
entific."—  James  Dafforne,  London  Art  Journal,  December,  1877. 

Maccari,  Cesare.  (Ital.)  Born  at  Siena,  1840.  Pupil  of  Luigi 
Mussini.  He  gained  the  prix  de  Rome,  and  studied  in  that  city.  He 
affects  the  coloring  of  the  Venetian  school.  His  first  important 
work,  "  Fabiola,"  belongs  to  Dupre  of  Florence.  His  "  Melody  "  fol- 
lowed, and  is  exceedingly  beautiful.  The  "  Descent  from  the  Cross  "  is 
a  grand  composition,  and  shows  a  masterly  handling  of  light  and  shade. 
The  frescos  on  the  ceiling  of  the  royal  chapel  of  the  Sudario  in  Rome 
add  greatly  to  the  fame  of  Maccari.  They  were  a  commission  from  Vic- 
tor Emmanuel.  For  the  palace  of  the  Quirinal  in  Rome  he  executed 
a  fresco  of  the  "  Triumph  of  the  Three  Graces,"  and  for  the  chapel  of 
the  cemetery  at  Campo  Verano,  Rome,  a  lunette,  "  Tobias  burying 
the  Dead."    At  Philadelphia,  in  1876,  were  two  of  his  works  (be- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  81 


longing  to  J.  Raymond  Claghorn),  "  Fond  Memories  "  and  "  Music 
hath  Charms,"  for  which  he  received  a  medal. 

MacCulloch,  Horatio.  {Brit.)  Born  in  Glasgow  (1805  -  1867). 
Educated  in  his  native  city,  studying  art  under  John  Knox,  a  well- 
known  landscape-painter.  A  picture  exhibited  in  Glasgow,  in  1828, 
first  brought  him  into  prominent  notice.  His  "  View  of  the  Clyde," 
painted  in  1829,  attracted  some  attention  in  Edinburgh.  He  was 
elected  an  Associate  of  the  Royal  Scottish  Academy  in  1834,  and  full 
member  in  1838,  exhibiting  frequently  at  the  gallery  until  his  death. 
Among  the  better  known  of  his  works,  which  are  still  very  popular  in 
his  native  country,  are,  "  A  Deer  Forest  in  Skye,"  "  My  Heart 's  in  the 
Highlands,"  "  Old  Bridge  over  the  Avon,  near  Hamilton,"  "  Druidical 
Stones  by  Moonlight,"  and  many  other  views  of  Scottish  scenery. 

MacDonald,  James  Wilson  Alexander.  {Am.)  Born  at  Steu- 
benville,  Ohio.  He  early  developed  a  taste  for  art,  drawing  carica- 
tures of  some  merit  while  still  a  school-boy.  In  1840  he  saw,  for  the 
first  time,  a  bust  in  plaster,  that  of  General  Washington,  his  admira- 
tion and  study  of  which  led  him  to  resolve  to  become  a  sculptor.  In 
1844  he  settled  in  .St.  Louis,  spending  his  days  in  a  business  house 
and  his  nights  in  the  study  of  art.  Here  he  received  encouragement 
and  some  instruction  from  Alfred  Waugh,  an  artist  of  that  city.  He 
made  his  first  bust  in  1846,  a  portrait  of  his  business  partner,  in 
clay.  Later,  he  studied  anatomy  under  Professor  McDowell.  He 
went  to  New  York  in  1849,  where  he  studied  one  year.  In  1854 
he  executed  his  first  work  in  marble,  a  bust  of  Thomas  H.  Benton, 
said  to  have  been  the  first  likeness  in  marble,  cut  from  life,  west 
of  the  Mississippi.  Later,  he  made  his  first  ideal  work,  a  bust  of 
Joan  of  Arc,  followed  by  a  full-length  figure,  called  "Italia."  In 
1865  he  settled  permanently  in  New  York.  Among  his  busts  are 
those  of  Charles  O'Conor,  ordered  by  the  New  York  Bar  and  pre- 
sented to  the  Supreme  Court  of  the  State  ;  of  John  Van  Buren ;  of 
James  T.  Brady  (posthumous),  in  the  New  York  Law  Library  ;  and 
many  more.  He  is  the  possessor  of  Houdin's  original  model  of  Wash- 
ington, from  which  he  has  made  a  heroic-sized  bust  in  bronze,  re- 
peated several  times.  His  colossal  head  of  Washington  Irving  is  in 
Prospect  Park,  Brooklyn  ;  his  colossal  bronze  statue  of  Edward  Bates, 
in  Forest  Park,  St.  Louis,  was  unveiled  in  1876  ;  the  statue  of  Fitz- 
Greene  Halleck,  in  Central  Park,  New  York,  was  unveiled  in  1877  by 
President  Hayes  ;  his  colossal  equestrian  statue  of  Gen.  Nathaniel 
Lyon  is  now  in  the  bronze  foundry  (1878).  At  present  he  is  engaged 
on  the  statue  of  General  Custer,  a  figure  eight  feet  high,  said  to  be  his 
best  work,  and  to  be  erected  at  the  Military  Academy  of  West  Point. 
He  has  also  at  his  studio  models  for  busts  of  William  C.  Bryant, 
Peter  Cooper,  and  Thurlow  Weed.  Mr.  MacDonald  has  also  painted 
portraits  and  landscapes  in  oil,  and  has  written  analytical  criticisms  on 
some  of  the  most  important  American  artists,  besides  lecturing  upon 
4  *  f 


82       ARTISTS  OF  THE  NINETEENTH  CENTURY, 


artistic  and  scientific  subjects,  especially  those  connected  with  the 
proportions  of  the  human  form  and  "  artistic  anatomy." 

MacDowell,  Patrick,  R.  A.  {Brit.)  Born  at  Belfast  (1799- 
1871).  In  1811  he  went  to  London  with  his  mother,  where  he  was 
apprenticed  to  a  coach-builder  for  some  years.  About  1815  fortune 
placed  him  as  a  lodger  in  the  house  of  a  French  sculptor,  where  he 
turned  his  natural  artistic  talents  to  pleasant  account,  and  began  his 
art  career  by  the  modeling  of  small  original  figures  in  clay,  which 
met  with  a  ready  sale.  Later,  he  modeled  portrait  busts  and  ideal 
figures  of  a  larger  size  ;  the  first  of  the  latter  to  attract  attention 
being  Moore's  "  Loves  of  the  Angels."  This  was  followed  by  a  "  Scene 
from  Ovid,"  "  Bacchus  and  a  Satyr,"  and  a  "  Girl  Reading,"  which 
was  at  the  Royal  Academy  in  1837,  and  subsequently  executed  in 
marble.  In  1841,  when  he  was  elected  Associate  of  the  Royal  Acad- 
emy, he  exhibited  "  Girl  going  to  Bathe "  ;  in  1842,  "  Girl  at 
Prayer  "  ;  in  1845  (when  he  was  raised  to  the  rank  of  Academician) 
he  sent  "  Cupid  "  ;  in  1850,  "  Virginius  and  his  Daughter  "  ;  in  1851, 
"  Psyche"  ;  in  1858,  "  Day-Dreams  "  ;  in  1865,  "  Eve  "  ;  and  "  The 
Young  Mother,"  in  1867.  Among  the  statues  executed  by  Mac- 
Dowell are  Viscount  Exmouth  at  Greenwich  Hospital,  Earl  of  Bel- 
fast (in  bronze)  at  Belfast,  Earl  of  Chatham  in  the  House  of  Parlia- 
ment, and  busts  of  Lord  Dufferin  and  others. 

Mac  do  well,  Susan  Hannah.  {Am.)  Born  in  Philadelphia, 
1851.  Received  her  art  education  in  the  Pennsylvania  Academy  of 
Fine  Arts,  and  under  the  instruction  of  Prof.  C.  Schussele  and 
Thomas  Eakins.  Her  pictures,  which  are  portraits,  composition  por- 
traits, and  animals,  have  been  exhibited,  and  are  generally  owned  in 
Philadelphia,  where  her  professional  life  so  far  has  been  spent. 

MacLeay,  Kenneth.  (Brit.)  (1802-1878.)  A  native  of  the  High- 
lands of  Scotland,  he  was  educated  in  Edinburgh,  and  spent  the  greater 
part  of  his  professional  life  in  that  city.  He  was  for  many  years  a 
member  of  the  Royal  Scottish  Academy,  and  at  the  time  of  his  death  a 
Trustee  and  Auditor  of  that  Institution.  In  his  early  days,  and  un- 
til the  introduction  of  the  photograph,  he  was  very  successful  and  very 
popular  in  Scotland  as  a  miniature-painter,  numbering  many  of  his 
distinguished  countrymen  among  his  subjects.  He  painted  in  water- 
color  for  the  Queen  a  large  series  of  portraits  of  the  different  High- 
land clansmen  in  full  costume,  which  attracted  much  attention  when 
exhibited.  To  the  exhibitions  of  the  Royal  Scottish  Academy,  in  late 
years,  he  occasionally  contributed  miniatures  and  landscapes. 

Maclise,  Daniel,  R.  A.  (Brit.)  Born  in  Cork,  Ireland  (181 1  - 1870). 
Was  for  a  time  a  bank  clerk  in  his  native  city,  but  began  painting  as 
a  profession  in  1827,  studying  in  the  Cork  School  of  Art.  In  1828 
he  entered  the  Royal  Academy,  winning,  in  due  course,  all  its 
medals  for  proficiency  in  the  different  branches.  He  went  to  Paris 
in  1830.    He  first  exhibited  at  the  Royal  Academy,  in  1832,  "  Puck 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  83 


disenchanting  Bottom";  in  1833,  "All  Hallow  Eve";  in  1834, 
"  Captain  Rock,"  and  in  1835,  "  The  Vow  of  the  Ladies  and  the  Pea- 
cock," when  he  was  elected  Associate  of  the  Academy.  In  1836  he 
exhibited  "  Macbeth  and  the  Witches"  ;  in  1840,  when  he  was  elected 
Academician,  he  painted  "  Merrie  Christmas  in  the  Baron's  Hall " 
and  "  Malvolio  and  the  Countess."  Besides  his  genre  paintings,  in 
which  his  subjects  were  taken  from  "  Gil  Bias,"  the  "  Vicar  of  Wake- 
field," Scott's  novels,  etc.,  and  in  which  his  success  was  decided,  he 
devoted  himself  to  portraiture  and  historical  painting.  His  "  Death 
of  .Nelson  at  Trafalgar"  and  "  Meeting  of  Wellington  and  Blucher 
at  Waterloo"  (each  46  feet  by  12  feet)  hang  in  the  Royal  Gallery  of 
the  New  Houses  of  Parliament,  and  through  the  medium  of  engrav- 
ing are  familiar  on  both  sides  of  the  Atlantic.  His  "  Play  Scene 
from  Hamlet "  and  "  Malvolio  and  the  Countess  "  are  in  the  National 
Gallery,  London.  His  u  Scene  from  Midas,"  one  of  his  earlier  works, 
belongs  to  the  Queen.  He  was  not  a  frequent  exhibitor  at  the  Royal 
Academy  in  his  later  years.  He  sent,  however,  in  1866,  "  Here 
Nelson  fell  "  and  "  Dr.  Quain  "  ;  in  1867,  "  A  Winter  Night's  Tale  " 
and  "  Othello,  Desdemona,  and  Emilia  "  ;  in  1868,  "  The  Sleep  of 
Duncan  "  and  "  Madeline  after  Prayer";  in  1869,  "King  Cophetua 
and  the  Beggar- Maid  "  ;  and  in  1870,  "  The  Earls  of  Desmond  and 
Ormond,"  his  last  exhibited  work.  He  was  Foreign  Member  of  the 
Royal  Academy  of  Arts  in  Stockholm. 

"  Of  Maelise's  genius  in  his  chosen  art  I  will  venture  to  say  nothing  here,  but  of  his  fer- 
tility of  mind  and  wealth  of  intellect  I  may  confidently  assert  that  they  would  have  made 
him,  if  he  had  been  so  minded,  at  least  as  great  a  writer  as  he  was  a  painter.  ....  His 
was  only  the  common  fate  of  Englishmen,  and  when  the  real  story  of  the  fresco-paint- 
ing of  the  Houses  of  Parliament  comes  to  be  written,  it  will  be  another  chapter  added 
to  our  national  misadventures  and  reproaches  in  everything  connected  with  art  and  its 
hapless  cultivators."  —  Forster's  Life  of  Dickens,  Vol.  III.  Chap.  XX. 

"■May  21st,  1835.  — Accompanied  Mr.  Forsterto  Mr.  Maelise's  lodgings,  — found  him  a 
young,  prepossessing,  intelligent  man,  anxious  to  paint  my  picture.  Saw  his  large  one 
of  '  Captain  Kock,'  and  several  smaller  of  great  merit.   Agreed  to  sit  to  him  

''March  2lst,  1840.  — Called  on  Maclise,  and  saw  again  his  grand  picture*  of  '  Macbeth.' 
The  figure  of  Lady  Macbeth,  which  I  had  not  seen  before,  I  thought  the  ideal  of  the 
character.  It  is  a  noble  conception.  His  picture  of  Olivia  I  can  look  at  forever  ;  it  is 
beauty,  moral  and  physical,  personified."  —  Macready's  Diary  and  Reminiscences. 

"  Young  Maclise  studied  not  only  in  his  profession  in  galleries  and  studios,  but  for  it 
in  anatomical  schools,  and  even  in  dissecting-rooms  ;  and  likewise  in  libraries  he  made 

himself  thoroughly  acquainted  with  the  history  of  art  and  artists  The  artist  who 

painted  '  Malvolio  smiling  on  Olivia '  and  the  '  Banquet  Scene  in  Macbeth '  has  conde- 
scended to  lend  his  talents  to  the  illustration  of  magazines  and  annuals."  —  Memoirs  of 
the  Countess  of  Blessington. 

"Maclise  was  a  man  of  undoubted  original  genius,  and  of  an  earnest  and  laborious 

life  He  is  said  to  have  been  very  far-sighted,  and  to  have  prided  himself  on 

drawing  remote  objects  with  a  clearness  impossible  to  more  restricted  eyes.  His  power 
as  a  draughtsman  greatly  excelled  his  power  as  a  colorist."  —  Mrs.  Tytler's  Modern 
Painters. 

Mac  Nee,  Sir  Daniel.  (Brit.)  Born  near  Stirling,  1805.  Educated 
at  the  Trustees  Academy  in  Edinburgh  under  Sir  W.  Allan.  He 


84       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


turned  his  attention  particularly  to  portrait-painting,  exhibiting  regu- 
larly at  the  Royal  Scottish  Academy  and  at  the  Royal  Academy  in 
London,  having  for  his  subjects  many  of  the  most  distinguished  of  his 
countrymen,  among  others,  Lord  Brougham  (in  the  Parliament  House, 
Edinburgh),  Viscount  Melville,  Norman  McLeod,  Marquis  of  Lome, 
Duke  of  Buccleuch,  Hugh  Blair,  etc.  For  many  years  he  was  a  resi- 
dent of  Glasgow.  He  is  a  member  of  the  Royal  Scottish  Academy, 
was  elected  its  President  in  1876,  and  was  knighted  by  the  Queen  the 
same  year.    [Died,  1882.] 

Macy,  W.  S.  {Am.)  He  has  lived  in  Munich  about  four  years, 
studying  under  Velten.  To  the  National  Academy,  New  York,  in 
1877,  he  sent  "  Lake  Stanberg,"  "  Early  Winter,"  etc.  ;  in  1878, 
"  Hurrying  up  before  the  Rain  "  and  "  At  the  Ford."  To  the  first 
Exhibition  of  the  Society  of  American  Artists,  in  1878,  he  contributed 
"  Forest  Scene  in  Bavaria."  His  "  Meadows  near  Munich "  and 
"  Autumn,  Royal  Park,  Munich  "  were  at  the  Mechanics'  Fair  Exhi- 
bition, Boston,  in  1878.  To  the  Paris  Salon  of  1878  he  sent  "  Near 
Munich." 

[No  response  to  circular.] 

Madou,  Jean  Baptiste.  (Belgian.)  Born  at  Brussels  (1796-1877). 

Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Leopold.  Mem- 
ber of  the  Academies  of  Brussels  and  Antwerp.  Professor  of  Drawing 
in  the  Military  School  of  Brussels.  Pupil  of  Francois,  and  the  Brus- 
sels Academy  of  Art.  In  1814  Madou  was  compelled  to  go  into  busi- 
ness, but  in  1818  he  resumed  his  art  studies.  He  was  employed  by 
government  in  making  maps,  but  in  1820,  when  lithography  was  in- 
troduced into  Belgium,  he  devoted  himself  to  that  art,  and  in  the  next 
twenty  years  executed  an  immense  amount  of  work  in  this  department : 
"  Picturesque  Views  in  Belgium  "  (202  plates),  "  Scenes  in  the  Life  of 
Napoleon  "  (  144  plates),  "  Souvenirs  of  Brussels  "  (12  plates),  "  Mili- 
tary Costumes,"  "  Scenes  of  Society,"  etc.  Of  course  this  work  was  a 
preparation  for  his  subsequent  painting.  His  subjects  are  pure  genre, 
and  are  not  numerous,  which  adds  to  their  value.  Among  them  are, 
"The  Sketch,"  "Jan  Steen  and  his  Friends,"  "The  Stirrup  Cup," 
"  The  Young  Squire  of  the  Village,"  "  The  Artist's  Amusement  at  an 
Inn,"  "  The  Bandit,"  etc.  At  the  Oppenheim  sale,  London,  1864,  "  La 
dame  a  la  ferme"  brought  260  guineas.  At  a  sale  in  London,  1874, 
"  Reading  the  Gazette  "  sold  for  £  892.  At  the  Latham  sale,  New 
York,  1878,  "  Interior  of  a  Flemish  Cabaret "  (18  by  23)  sold  for 
$  1,400.  Several  of  his  works  were  sent  to  the  Paris  Exposition  of 
1878. 

"  He  unquestionably  stands  at  the  head  of  the  genre  painters  of  Belgium  ;  his  works, 
whether  in  lithography,  in  water-colors,  or  in  oils,  show  a  power  of  composition,  a 
truthfulness,  and  a  delicacy  of  touch,  combined  with  solidity,  that  will  bear  comparison 
with  the  best  that  have  come  down  to  us  from  the  old  painters  of  the  Dutch  and  Flemish 
schools."  —  Art  Journal,  February,  1866. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  85 


Madrazo,  Don  Frederic  Madrazo  Y  Kunt.  (Span.)  Born  at 
Madrid,  according  to  the  catalogue  of  the  Salons.  Vapereau  says  that  he 
was  born  at  Home,  and  baptized  at  St.  Peter's.  Officer  of  the  Legion  of 
Honor.  He  received  his  earliest  instructions  from  his  father,  Jose 
Madrazo,  and  studied  later  at  Paris  under  Winterhalter.  Madrazo  is 
court  painter  at  Madrid,  and  in  1835  he  established  there  an  artistic 
Review.  Among  his  historical  portraits  are  those  of  "  Godfrey  de 
Bouillon,"  the  same  "  when  proclaimed  King  of  Jerusalem  "  (at  Ver- 
sailles), "  Marie-Christine  in  the  dress  of  a  Religieuse  at  the  Bed  of 
Ferdinand  VII.,"  "  Queen  Isabella,"  "  The  Duchess  of  Medina-Cceli," 
and  others.  His  portraits  of  the  Spanish  aristocracy  are  far  too  nu- 
merous to  mention.  He  has  sometimes  exhibited  his  pictures  at  the 
Eoyal  Academy,  London.  His  portrait  of  Fortuny,  who  was  his  son- 
in-law,  was  much  admired  at  the  Paris  Exposition  of  1878,  where  he 
also  exhibited  three  other  fine  portraits. 

Madrazo,  Louis.  (Span.)  Brother  of  the  above,  and  also  a  pupil 
of  his  father.  At  the  School  of  Fine  Arts  of  Madrid  he  took  the  grand 
prize  in  1848.  His  "  Burial  of  St.  Cecilia,"  belonging  to  the  Museum 
of  Madrid,  received  honorable  mention  at  Paris  in  1855. 

Madrazo,  Ricardo.  (Span.)  Pupil  of  his  father.  At  the  John- 
ston sale,  New  York,  in  1876,  "  The  Interior  of  Santa  Maria  at  Rome" 
(23  by  39)  sold  for  $  4,600.  At  the  Paris  Salon  of  1878  he  exhibited 
"  A  Well  near  Venice." 

Magaud,  Dominique  Antoine.  (Fr.)  Born  at  Marseilles,  1817. 
Two  medals  at  Paris,  and  numerous  others  at  the  Provincial  Exposi- 
tions. Member  of  the  Academy  of  Marseilles  and  Director  of  l'llcole 
des  Beaux- Arts  of  that  city.  Correspondent  of  the  Institute  since 
1874.  Pupil  of  the  Art  School  of  Marseilles  and  of  Leon  Cogniet. 
His  works  are  very  numerous,  many  of  them  being  in  the  public  gal- 
leries and  edifices  of  his  native  city.  At  the  Salon  of  1878  he  exhib- 
ited a  picture  called  "  War." 

Magni,  Pietro.  (Ital.)  Born  at  Milan  (1816-1877).  In  his 
death  Italy  has  lost  one  of  her  greatest  artists.  Among  his  principal 
works  are,  "  Angelica  Bound,"  "  Sappho,"  "  Reading  Girl,"  and  a 
Napoleon  I.  The  monument  to  Leonardo  da  Vinci,  in  the  Piazza 
della  Scala,  Milan,  was  erected  in  1872,  and  is  a  fine  work;  the  Fon- 
tane  della  Nabresina  at  Trieste  is  also  much  admired;  his  large  group 
of  the  "  Opening  of  the  Suez  Canal "  is  grand;  and  his  latest  works,  a 
statue  of  "  Aristides  "  and  an  ideal  figure  called  "  Complacency,"  were 
intended  for  the  Exposition  of  this  year  (1878)  at  Paris;  the  last  was 
seen  there. 

Magnus,  Eduard.  (Ger.)  Born  at  Berlin  (1799  - 1872).  Member 
and  Professor  of  the  Academy  of  Berlin.  Medal  at  Paris  in  1855. 
Pupil  of  Schlesinger.  He  traveled  in  France  and  Italy.  His  early 
pictures  of  the  "  Return  of  the  Pirate  "  and  "  The  Blessing  of  the 
Grandson  "  brought  him  good  reputation.    At  the  National  Gallery, 


86       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Berlin,  are  the  "  Return  of  the  Fisherman"  and  a  "  Study  of  Female 
Heads."    His  pictures  are  of  genre  subjects  and  portraits. 

Magrath,  William,  N.  A.  (Am.)  Has  occupied  a  studio  in  New 
York  for  many  years.  Devotes  himself  to  landscapes  and  figure- 
pieces,  generally  of  Irish  peasant  life.  He  was  an  early  member  of 
the  American  Society  of  Painters  in  Water-Colors,  and  was  elected 
Associate  of  the  National  Academy  in  1874,  and  Academician  in  1876. 
He  exhibited,  in  1869,  "  Irish  Peasantry  returning  from  the  Fair  in 
1870,  "The  Road  to  Kenmair";  in  1871,  "The  Reveille";  in  1873, 
"The  Empty  Flagon";  in  1874,  "Reveries"  and  "Faltering  Foot- 
steps"; in  1876,  "Rustic  Courtship"  (belonging  to  Robert  Gordon) 
and  "  Contentment in  1877,  "  Girl  Spinning  "  and  "  Paddy's  Pets 
in  1878,  "Adirondack  Slopes  "  and  "  A  Golden  Prospect ":  all  in  oils. 
In  water-colors  he  has  exhibited  "  Out  of  the  Gloom,"  "  The  Wilds  of 
Connemara,"  "  No  Place  like  Home,"  "  The  Dairy-Maid,"  "  The  Fish- 
erman's Daughter,"  "  Irish  Interior,  —  Girl  winding  Yarn,"  "  Gathering 
Kelp,"  "  On  the  Threshold,"  etc.  To  the  Exhibition  at  Philadelphia, 
in  1876,  he  sent,  in  water-colors,  "  Mussel -Gatherers  "  (belonging  to 
Robert  Gordon),  "Nora"  (belonging  to  J.  T.  Williams),  "An  Irish 
Thatched  Cottage,"  and  "  On  the  Hillside." 

[No  response  to  circular.] 

Maignan,  Albert.  (Fr.)  Born  at  Beaumont.  Pupil  of  J.  Noel 
and  Luminals.  At  Philadelphia  he  exhibited  "  Helen  at  the  Foun- 
tain "  and  "  The  Sentinel,"  and  received  a  medal.  At  the  Paris  Salon 
of  1877  were  his  "  Frederic  Barbarossa  at  the  Feet  of  the  Pope  "  and 
a  portrait  of  Mme.  F.  At  the  Luxembourg  is  his  "  Departure  of 
the  Norman  Fleet  for  the  Conquest  of  England "  (1874).  At  the 
Salon  of  1878  he  exhibited  "  Louis  IX.  consoling  a  Leper  "  and  "  The 
Admiral  Carlo  Zeno." 

Maillet,  Jacques  Leonard.  (Fr.)  Born  at  Paris,  about  1827. 
Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Leopold. 
Pupil  of  1'  Iicole  des  Beaux- Arts  and  of  Feuchere  and  Pradier.  When 
twenty-four  years  old  he  went  to  Rome,  having  gained  the  prix  de 
Rome.  At  the  Luxembourg  are  his  "  Agrippina  and  Caligula,"  sent 
from  Rome  in  1853;  also  "Agrippina  bearing  the  Ashes  of  Germanicus  " 
(1861).  His  works  may  be  seen  at  the  Louvre,  the  Tuileries,  and 
several  churches  of  Paris,  while  his  funeral  monuments,  his  graceful 
figures,  and  charming  groups  are  in  many  places.  At  the  Salon  of 
1877  he  exhibited  "  Caesar,"  a  plaster  group,  and  a  portrait  bust  in 
marble;  at  the  Salon  of  1876,  "  Love  and  a  Satyr  "  (plaster)  and  "  Eury- 
dice,"  statuette  interra-cotta;  in  1878,  terra-cotta  statuettes  of  young 
women  of  Syracuse  and  Corinth. 

Maindron,  Etienne-Hippolyte.  (Fr.)  Born  at  Champtoceau, 
1801.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  David  d' Angers. 
His  "  Velleda  "  of  1839  was  placed  in  the  garden  of  the  Luxembourg, 
and  a  repetition  of  it  in  1855  was  placed  in  the  Gallery  of  the  Luxem- 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  87 


bourg.  "  Sainte  Genevieve  disarming  Attila  "  is  in  the  church  of  that 
saint  at  Paris  (Pantheon).  At  the  Cathedral  of  Sens  are  thirty-two 
statues  and  figures,  and  a  colossal  "  Christ."  A  bas-relief  is  at  the 
Cathedral  of  Rheims  ;  a  "  Saint  Gregory  of  Valois,"  at  the  Made- 
leine ;  etc.  At  the  Salon  of  1874,  the  year  in  which  he  was  decorated, 
he  exhibited  a  marble  statue  called  "  France  Resigned,"  and  in  1878, 
two  marble  busts.    [Died,  1884.] 

Maisiat,  Joanny.  (Fr.)  Born  at  Lyons.  Medals  in  1864,  '67, 
and  '72.  Pupil  of  l'Ecole  des  Beaux- Arts  of  Lyons.  At  the  Salon  of 
1877  he  exhibited  "  The  Washerwomen  of  Vignely  "  and  "  A  Branch 
of  Plums"  ;  in  1876,  "  On  the  Banks  of  the  Marne"  ;  in  1875,  "A 
Basket  of  Peaches  and  Raisins,"  "  Red  and  White  Roses,"  etc.  Two 
of  his  pictures  are  in  the  Luxembourg. 

Makart,  Hans.  (Ger.)  Born  at  Salzbourg,  1840.  Professor  at 
Vienna.  Member  of  the  Munich  Academy.  Medal  at  Philadelphia. 
Studied  at  Munich,  in  the  school  of  Piloty.  He  has  been  frequently 
in  Italy,  and  sent  a  picture  of  "  Roman  Ruins  "  to  the  Exposition  of 
1867  at  Paris.  At  Vienna,  where  he  settled,  he  has  a  large  studio, 
and  here  commenced  his  first  historical  picture,  "  Catherine  Cornaro," 
now  at  the  Berlin  National  Gallery,  for  which  50,000  marks  was  paid 
(£  2,500).  The  reputation  of  this  artist  dates  from  about  1868.  At 
the  International  Exposition  at  Munich  in  1869,  he  exhibited  "  L'Es- 
quisse."  Among  his  earlier  works  are,  "  The  Seven  Capital  Sins," 
"  The  Pest  at  Florence,"  "  The  Dream  of  a  Man  of  Pleasure,"  and 
"  Nymphs  coming  to  touch  the  Lute  of  a  Sleeping  Singer."  His 
"  Romeo  by  the  Body  of  Juliet "  is  at  the  Belvedere  in  Vienna. 
Among  his  other  works  are,  "  Leda,"  "  Modern  Cupids,"  "  Cleopatra," 
"  Entrance  of  the  young  Emperor  Charles  V.  into  Antwerp,"  and 
"  The  Gifts  of  Sea  and  Earth."  A  portrait  by  this  artist,  belonging 
to  E.  B.  Haskell,  was  exhibited  at  the  Mechanics'  Fair,  Boston,  1878. 
His  "  Entrance  of  Charles  V.  into  Antwerp  "  and  two  portraits  were 
seen  at  the  Paris  Exposition  of  1878.     [Died,  1884.] 

"  Makart  is  the  Richard  Wagner  (some  say  Offenbach )  of  German  painting.  His  repu- 
tation dates  back  but  a  year,  and  already  he  has  enthusiastic  partisans  and  detractors. 

I  have  seen  four  works  of  his  It  would  be  presumptuous  to  attempt  to  form  a 

definite  judgment  of  this  artist  after  four  works,  following  each  other  so  nearly,  but  it  is 
allowable  to  seek  in  these  works  the  elements  of  which  his  system  and  his  success  are 
composed.  The  '  Nymphs,'  of  the  Schack  Gallery,  1866.  have  taught  the  public  and  the 
artist  himself  that  he  was  incapable  of  drawing  or  painting  grand  figures.  c  The  Sketch,' 
of  the  present  Exposition  [International  Exposition  of  Munich,  1869],  confirms  this  obser- 
vation ;  more,  it  extends  it  to  the  figures  of  smaller  dimensions.  The  torsos,  the  arms, 
the  legs,  are  equally  incorrect,  and  as  for  the  hands,  the  artist  has  almost  spirited  them 
away  in  order  to  conceal  his  want  of  anatomic  science.  These  experiences  have  clearly 
shown  the  author  that  he  cannot  succeed  in  grand  painting.  He  has  bravely  chosen  his 
part  upon  this  conviction.  Renouncing  the  manners  of  the  vulgar,  he  has  sought  a  kind 
of  genre  which  demands  neither  a  knowledge  of  drawing  nor  of  painting,  but  uniquely  a 
sort  of  general  taste  for  the  association  of  colors ;  and  this  genre  he  has  found.  The 
'Sketch  '  exhibited  helps  us  to  put  our  finger  on  all  the  resorts  of  this  knowing  and  in- 
genious mechanism  which  he  has  imagined.    An  architectural 'framing,  in  the  form  of  a 


88       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


buffet,  closed  in  three  compartments  ;  a  circle  of  women  and  a  triumphal  cortege,  the  hero- 
ines  of  which  form  some  very  picturesque  groups  ;  various  emblems,  scientific  or  artistic 
instruments,  utensils  of  the  menage,  etc.,  are  painted  on  the  different  parts  of  the  buffet, 
and  testify  to  a  remarkable  understanding  of  the  laws  of  decoration.  The  golden  tone 
on  which  the  figures  are  shown,  the  brown  tone  of  the  branches  and  the'flowers,  and  the 
tone,  sometimes  red  and  again  white,  of  the  flesh  parts,  make  a  marvelous  harmony, 
of  a  dazzling  richness  and  a  musical  charm,  —  the  assemblage  offers  all  the  poesy  of  au- 
tumn and  the  falling  leaves.  Evidently  Makart  has  his  palette  to  himself,  and  has 
imitated  no  one.  He  has  discovered  a  precious  vein.  Will  he  be  able  to  explore  it? 
Has  he  stuff  enough  in  him  to  make  fruitful  and  to  ripen  the  germs  of  the  first  attempts, 
or  will  he  be  blinded  by  his  first  success,  and  believe  that  he  has  arrived  at  the  end?  ... 
The  forms  of  these  heroines  who  fluctuate  between  the  softness  of  childhood  and  the 
roundness  of  ripened  age,  the  forbidding  expression  of  the  heads,  authorize  but  too  well 
the  reproach  of  immorality  which  has  been  addressed  to  this  art.  Not  only  does  Makart 
debase  the  human  body  to  the  role  of  simple  ornament,  but  he  accords  to  it  no  more  im- 
portance than  to  the  hangings  and  the  flowers  ;  more  than  this,  he  changes  it,  and  gives 
it  a  dull  and  cadaverous  tint  to  make  it  set  off  the  golden  or  purple  tones.  This  painting 
is  then  unhealthy  in  whatever  point  of  view  it  is  put,  and  it  must  be  condemned,  let  the 
skillfulness  of  the  author  and  his  conviction  regarding  his  system  be  what  it  may."  — 
Eugene  Muntz,  Gazette  des  Beaux-Arts,  October,  1869. 

"Makart  reminds  us  of  certain  virtuosos  who  know  everything,  but  cannot  command 
the  technique  to  express  themselves.  Nevertheless,  we  must  constantly  speak  of  his 
brilliant  endowment ;  we  appreciate  it,  but  deplore  the  want  of  an  elementary  training, 
the  absence  of  a  strong,  comprehensive  design.  Flowing  verses,  rich  rhymes,  make  a 
poem  ;  what  worth,  however,  has  the  most  charming  poem  without  that  more  lovely 
element  which  Schiller  calls  the  beautiful  soul  ?  Makart's  color  is  brilliant,  satisfying, 
melting  ;  shall  we  ever  be  able  to  give  the  same  praise  to  his  conception  and  drawing  ?  " 
—  Eugen  Obermayer,  Zeitschrift  fur  Uldende  Kunst,  1871. 

"  Taken  as  a  whole,  and  with  due  acknowledgment  of  the  courage  needed  for  such  an 
attempt,  and  the  talent  with  which  it  has  been  conducted,  the  picture  seems ^to  me  a 
recall  of  the  manner  and  the  artifice,  rather  than  the  essence,  of  the  style  it  affects. 
What  was  theatric  and  grandiose  in  the  art  of  Veronese  has  passed  into  the  art  of  Herr 
Makart,  but  the  simplicity  that  made  the  earlier  splendor  credible  has  fled.  The  labori- 
ous invention  of  costume,  the  genuine  charm  of  color,  do  not  suffice  to  take  from  the 
work  its  incurable  artificiality.  The  painter  has  attempted  to  reproduce  there  elements 
of  an  epoch  that  cannot  survive.  He  has  let  go  the  permanent  truth  that  was  in  his 
master,  and  has  been  content  to  invent  what  Veronese  imitated  ;  and  thus  the  work  is, 
in  the  true  sense  of  the  term,  theatric,  for  it  seeks  for  the  kind  of  illusion  that  is  desired 

on  the  stage  But  although  the  work  of  Herr  Makart  seems  to  me  so  far  in  its 

essence  a  failure,  it  nevertheless  deserves  consideration  for  the  brilliant  technical  quali- 
ties it  displays.  There  are  few  painters  of  the  present  day  who  have  enough  daring  to 
handle  such  vast  material,  to  dispose  fearlessly  and  with  proper  relation  so  large  a  num- 
ber of  figures  ;  and  there  are  still  fewer  who  possess  the  skill  in  execution  which  renders 
Herr  Makart's  picture  a  surprising,  and  in  some  sense,  admirable  performance."  — 
J.  W.  Comyns  Carr  {critique  upon  "  The  Nobles  of  Venice  paying  Homage  to  Catherine 
Cornaro"),  The  Portfolio,  February,  1875. 

"  Herr  Makart,  by  birth  Austrian,  but  trained  under  Piloty,  is  imbued  with  the  ro- 
mance and  voluptuousness  of  Venezia.  He  is,  in  fact,  the  Veronese  of  Vienna.  It  is 
more  than  doubtful  if  Paul  Veronese  had  not  enthroned  '  Venice  crowned  by  Glory,' 
whether  Herr  Makart  would  have  ever  painted  '  Venice  doing  Homage  to  Catarina  Cor- 
naro,' a  grandiose  composition,  which,  when  displayed  in  London,  was  looked  upon  less 
as  grave  history  than  as  phantasmagoria.  The  painter,  as  seen  in  the  great  Exhibition 
of  Paris,  becomes  still  more  formless  and  florid  when  he  emblazons  the  festive  '  Entry 
of  Charles  V.  into  Antwerp.'  It  may  be  feared  that  this  triumphant  artist  is  hurrying 
to  his  fall.    No  amount  of  genius  can  pardon  ill  drawing,  or  excuse  an  execution  which 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  89 


from  bravura  passes  into  effrontery.  Herr  Makart  is  one  of  those  sensuous  painters, 
nowadays  becoming  numerous  in  great  cities,  who,  carrying  to  fruition  the  desires  of 
luxurious  living,  decorate  their  studios  up  to  the  high  pitch  of  their  pictures.  The  door 
opens,  and  at  once  it  is  seen  that  the  former  austerity  of  German  manners  has  given 
place  to  the  allurements  now  permitted  in  the  '  Paris  of  Eastern  Europe.'  "  —  J.  Beav- 
ington  Atkinson,  The  Portfolio,  1878. 

Malchin,  Karl  Wilhelm  Christian.  (Ger.)  Born  at  Kropelin, 
1838.  Pupil  of  the  Art  School  at  Weimar  under  Professor  Hagen. 
Since  1874  he  has  traveled  considerably,  and  paints  and  etches.  At 
the  Berlin  National  Gallery  is  his  "  Northern  German  Landscape 
with  Sheep  "  (1877). 

Mancinelli,  Giuseppe.  (Ital.)  Born  at  Naples  (1813-1875). 
Member  of  many  academies.  He  received  also  many  honors.  He 
gained  the  stipend  with  which  to  go  to  Kome  at  the  Academy  of 
Naples.  In  1850  he  won  the  position  of  Professor  in  the  Academy 
of  Naples,  in  a  concours,  by  his  cartoon  of  "  Jacob  blessing  his  Chil- 
dren." Among  his  best  works  are,  "  St.  Carlo  Borromeo,"  for  the 
church  of  St.  Carlo  all'  Arena  ;  a  "  St.  Francesco  di  Paolo,"  for  Ferdi- 
nand II.  ;  a  "  Madonna  degli  Angeli,"  for  the  church  of  Tripoli  ;  a 
"  Christ  in  the  Garden,"  for  a  church  at  Syracuse  ;  a  "  St.  Clara," 
for  the  Cathedral  of  Spoleto  ;  and  a  "  Death  of  St.  Augustine,"  at 
Piedigrotta. 

Mancini,  Antoine.  (Ital)  Born  at  Naples.  Pupil  of  Lista  and 
Morelli.  At  the  Paris  Salon  of  1877  he  exhibited  "  The  Little  Moun- 
tebank "  ;  in  1 876,  "  The  Little  Scholar,"  belonging  to  Landelle. 
His  picture  of  "  Tired  Out "  brought  $  210,  at  the  Cottier  sale,  New 
York,  1878.  At  the  Salon  of  1878  he  exhibited  "  The  Fete  of  St. 
Januarius  at  Naples."  Several  of  his  works  were  seen  at  the  Paris 
Exposition  of  1878. 

Manet,  Edouard.  (Fr.)  Born  at  Paris  (1833-1883).  In  spite  of 
his  love  for  art,  his  family  were  determined  that  he  should  not  be 
an  artist,  and  when  seventeen  he  was  forced  by  them  to  go  to  Bio 
Janeiro  ;  after  this  voyage  he  visited  Italy  and  Holland,  and  finally 
entered  the  atelier  of  Couture,  where  he  remained  six  years.  In  1860 
he  painted  the  "  Man  drinking  Absinthe."  For  several  years  his 
works  were  refused  at  the  Salons.  He  exhibited  his  "  Breakfast  on 
the  Grass "  (which  Vapereau  says  "  united,  pell-mell,  nudities  and 
modern  costumes  ")  at  the  Salon  of  refused  pictures,  and  at  length,  in 
1867,  made  an  exhibition  of  his  works  alone.  By  this  means  he  was 
placed  before  the  public,  and  was  discussed  and  rediscussed  most 
vigorously.  M.  timile  Zola  published  an  elaborate  biography,  study, 
and  critique  of  Manet,  and  praised  him  much.  The  following  works 
are  good  examples  of  his  style  :  "  The  Dead  Man,"  "  Child  with  a 
Sword,"  "  Olympia,"  "  A  Young  Lady  "  (1868),  and  "  The  Spanish 
Ballet."  Manet  is  also  an  etcher,  and  has  made  plates  of  "  La  Vierge 
au  lapin,"  of  Titian,  "  Portrait  of  Tintoretto,"  by  himself,  and 
"  Les  petits  cavaliers,"  by  Velasquez,  three  pictures  at  the  Louvre. 


90       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  .  .  .  .  Manet,  the  painter-in-chief  of  ugliness,  which  in  sincere  self-delusion  he  ex- 
'ts  into  a  worship.    It  seems  to  he  a  fixed  principle  with  him  to  make  the  most  prom- 
ising subjects  for  beauty  — as  his  '  Olympia  '  for  instance,  which  motive  a  Titian  or 
Correggio  would  have  transformed  into  a  masterpiece  of  aesthetic  joy  —  the  combination 

of  all  that  is  disagreeable  in  painting  Olympia  was  naked,  but  as  her  flesh  was 

of  the  hue  of  green  meat,  there  was  nothing  corrupting  to  the  public  morals  in  the  gross 
display  of  her  flaccid  charms.  She  was  of  no  mundane  type  of  feature  or  figure.  Her 
form  was  coarser,  if  possible,  than  a  Terra  del  Fuegian  belle's.  A  negress  stood  grin- 
ning in  the  background,  and  a  witch-cat,  with  her  black  back  up,  in  the  foreground.  These 
accesories  gave  a  grotesque  hideousness  to  the  whole.  Yet  there  were  indications  of 
talent  and  a  certain  spotty  force  of  splashy  contrasts  of  coloring,  which  might  be  trained 
to  better  work.  Manet  is  one  of  the  eccentricities  of  modern  art,  as  Whistler  is  another 
but  better  variety,  induced  by  the  popular  love  of  the  sensational  and  extravagant."  — 
Jarves,  Art  Thoughts. 

"  M.  Manet,  who  is  well  known  to  American  lovers  of  art  as  the  leader  of  the  new 
school  of  painters  and  the  illustrator  of  Poe's  '  Raven,'  exhibits  this  year  two  pictures, 
one  at  the  Salon,  the  other  on  the  street.  Take  a  look  first  at  '  Nana,'  rejected  by  the  jury 
on  the  ground  of  indelicacy.  It  maybe  seen  in  a  window  at  Giroux's,  on  the  Boulevard 
des  Capucines.  You  will  probably  be  surprised  when  you  see  it;  it  is  certainly  a  remark- 
able work  of  the  master,  and  it  has  become  one  of  the  incidents  of  the  day.  The  other 
picture,  exhibited  at  the  Salon,  is  a  portrait,  —  that  of  Faure  in  '  Hamlet.'  In  it  we  see 
the  Danish  Prince  in  the  presence  of  the  ghost,  and,  at  the  same  time,  the  singer  him- 
self. In  the  picture  on  the  Boulevard  he  shows  his  appreciation  of  grace  and  elegance; 
in  that  of  the  Salon,  that  he  is  the  strong  master  of  a  noble  style. "  —  American  Register, 
Juaie,  1877. 

Mann,  J.  H.  S.  (Brit.)  Contemporary  English  painter,  residing 
in  London.  He  is  a  member  of  the  Society  of  British  Artists,  exhib- 
iting cabinet  pictures,  generally  of  a  genre  character.  Among  his 
later  works  are,  "  Nina,"  "  Bosom  Friends,"  "  The  Pet,*'  "  A  Quiet 
Cup  of  Tea,"  "  Eothen,"  "  Threatening  Weather,"  "  Pleased  with  a 
Feather,"  etc. 

"  The  subject  by  J.  H.  S.  Mann  [R.  A.,  1873]  is  larger  than  he  habitually  paints.  It 
is  catalogued  without  a  name,  and  represents  a  lady  gazing  thoughtfully  into  the  far 
distance  of  an  open  country  It  is  painted  with  all  the  grace  that  has  character- 
ized Mr.  Mann's  former  productions,  but  the  person  has  more  of  intelligence,  and  carries 
more  of  personal  importance."  —  Art  Journal,  June,  1873. 

Manson,  George.  (Brit.)  Born  in  Edinburgh  (1850-1876). 
He  was  a  wood-engraver  of  some  promise,  painting  also  in  water  and 
in  oil  colors.  Among  his  original  works  may  be  mentioned,  "  The 
Rhymer's  Glen,"  "The  High  School  Wynd,  Edinburgh,"  "A  Sark 
Fisherman,"  etc. 

Marc,  Jean-Auguste.  (Fr.)  Born  at  Metz,  1818.  Chevalier  of 
the  Legion  of  Honor.  In  1836  this  artist  taught  drawing  in  the  gym- 
nasium of  Diekirch.  He  went  then  to  Paris,  and  studied  at  l'licole 
des  Beaux-Arts  under  Delaroche.  He  painted  genre  and  historic 
subjects  and  portraits.  Marc  also  made  many  designs  for  illustrated 
publications.  On  the  death  of  Paulin,  founder  of  "L'lllustration,"  he 
became  managing  director  of  that  journal,  and  after  1865  wrote  the 
political  bulletin. 

Marcellin,  Jean-Esprit.   (Fr.)   Born  at  Gap,  about  1822.  Chev- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  91 


alier  of  the  Legion  of  Honor.  Pupil  of  Rude.  His  "  Bacchus  giving 
himself  up  to  Sacrifice  "  (1869)  is  at  the  Luxembourg.  The  works 
of  this  sculptor  are  seen  in  Marseilles.  Many  of  his  subjects  are  myth- 
ological.   [Died,  1884.] 

Marchal,  Charles  Francois.  (Fr.)  Born  at  Paris  (about  1828  - 
1877).  Three  medals  at  Paris  Salons.  Pupil  of  Francois  Dubois  and 
Drolling.  This  artist  took  his  own  life  ;  he  had  felt  that  he  was  un- 
justly estimated,  his  eyesight  was  much  enfeebled,  his  cares  were 
many  and  heavy,  and  his  courage  failed  him.  Among  his  best  works 
were,  "  An  Interior  of  an  Inn  on  a  Fete  Day  at  Bouxviller,  Upper 
Rhine  "  (1861)  and  "  Springtime  "  (1866).  At  the  Salon  of  1876  he 
exhibited  "The  First  Step"  ;  in  1875,  "The  Prey"  ;  in  1873,  "The 
Morning  "  and  "  The  Evening,  in  Alsace  "  ;  in  1872,  "  Alsace  !  "  ;  in 
1868,  "Penelope"  (belonging  to  Mr.  Probasco  of  Cincinnati)  and 
"Phryne";  etc.  His  "Choral  of  Luther,  Alsace"  (1863)  and  "The 
Fair  of  the  Servants  at  Bouxviller,  Alsace"  (1864)  are  in  the  Luxem- 
bourg. 

"Charles  Marchal  offers  us  an  example,  rare  enough,  of  an  ainateur  who  has  arrived 
in  a  few  years  to  the  rank  of  a  true  artist.  I  will  not  recount  to  you  all  the  circum- 
stances, more  or  less  romantic,  which  have  led  him  to  live  by  his  labor,  nor  the  difficul- 
ties of  his  debut,  nor  the  grand  resolve  which  he  one  day  made  to  dig  to  the  very  bottom 
of  Nature  in  our  dear  Alsace.  This  most  gay  and  truly  Parisian  of  all  the  painters  of 
Paris  confined  himself  for  nearly  two  years  to  the  little  industrious  village  of  Bouxviller, 
in  the  midst  of  a  new  country  where  the  usages  and  costumes  of  the  good  old  times  are  well 
enough  preserved.  The  peasant-women  there  wear  the  embroidered  caps,  the  bodices 
glistening  with  spangles,  the  red  or  green  petticoats,  according  to  their  being  Protestants 
or  Catholics.  The  town  itself  is  as  picturesque  as  one  could  wish,  —  it  seems  a  place  of 
the  Middle  Ages,  —  you  see  a  beautiful  example  of  it  in  this  picture  of  the  '  Fair  of  the 
Servants.'  Certainly  this  young  artist  owes  much  to  the  cordiality  and  hospitality  of 
Alsace,  and  above  all  to  those  good  men  of  Bouxviller  who  have  cared  for  him  as  for  a 
son.  But  it  is  necessary  to  say  that  he  has  largely  paid  his  debt  in  revealing  to  the  Paris 
public  the  poesy,  half  Germanic,  of  this  far-off  country,  and  these  manners  so  little  known. 
....  There  is,  in  truth,  some  little  thing  wanting  in  order  to  make  this  excellent  picture 
a  true  chef-d' czuvre ;  the  artist  lacks  almost  nothing  to  make  him  a  grand  painter.  But 
what?  I  cannot  say.  Perhaps  a  little  more  air  in  the  picture.  Perhaps  a  more  free 
and  full  effect  of  light.  I  am  afraid  to  give  advice,  especially  since  it  would  probably  be 
useless.  When  an  artist  walks  so  firmly  in  the  good  path,  and  makes  new  progress  with 
each  effort,  it  is  best,  I  believe,  that  he  should  consult  himself.  If  he  has  known  how 
to  go  so  far  without  the  counsel  of  the  critics,  he  has  good  sight  to  discern  the  end,  and 
good  legs  to  take  him  to  it."  —  Edmond  About,  Salon  o/1864. 

Marchesi,  Pompeo.  (Ital)  (1790-1858.)  Professor  in  the 
Academy  of  Milan,  and  recipient  of  many  honors.  This  sculptor  was 
a  pupil  of  Canova.  He  executed  many  portrait  statues  and  busts  of 
notable  men  ;  among  them,  twelve  of  the  Marshals  of  Italy  for  the 
Cathedral  of  Milan,  one  of  Goethe  for  the  library  of  Frankfort,  one 
of  Francis  I.  of  Austria  (now  at  the  castle  of  Vienna),  a  colossal 
statue  of  Charles  Emmanuel  III.  in  Novaro,  etc. 

Marchesi,  Salvatore.  (Ital)  Of  Parma.  Medal  at  Philadel- 
phia, where  he  exhibited  "  Interior  of  the  Choir  of  the  Cathedral  of 
Parma,"  which  was  one  of  the  pictures  most  worthy  of  note  in  the 


92 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Italian  exhibit.  At  the  Paris  Exposition  of  1878  was  exhibited  his 
"  Interior  of  the  Sacristy  of  the  Church  of  Saint  John  at  Parma,"  be- 
longing to  the  Academy  of  Milan. 

Marshal,  Charles-Laurent.  (Fr.)  Born  at  Metz,  about  1800. 
Officer  of  the  Legion  of  Honor,  and  Correspondent  of  the  Institute. 
Pupil  of  Regnault.  His  pictures  are  of  genre  subjects.  He  has 
gained  much  reputation  by  pastels,  and  more  by  his  glass  painting, 
which  is  in  many  of  the  finest  churches  and  cathedrals  of  France. 

Marilhat,  Prosper.  {Fr.)  Born  at  Vertaizon  (1810-184V).  Pupil 
of  Roqueplan.  His  earlier  essays  gave  no  promise  of  the  talent  which 
he  showed  later.  He  was  so  fortunate  as  to  have  the  opportunity  of 
going  to  the  East  with  Baron  Hugel,  a  rich  Prussian,  and  there  found 
his  true  inspiration.  Gautier  says,  "  Marilhat  was  a  Syrian  Arab,  he 
must  have  had  in  his  veins  some  blood  of  the  Saracens  whom  Charles 
Martel  did  not  kill."  Marilhat  was  invited  by  his  friend  to  go  to  the 
East  Indies,  but  he  preferred  to  remain  in  Egypt,  and  passed  some 
time  at  Alexandria,  Cairo,  Rosetta,  and  their  environs.  He  painted  a 
portrait  of  the  Pasha  ;  he  painted  other  portraits  for  300  francs  each, 
in  order  to  support  himself.  He  also  decorated  a  common  theater  at 
Alexandria,  but  whenever  he  could  he  made  sketches  of  the  country, 
its  environs,  costumes,  etc.  After  his  return  to  Paris  he  sent  to  the 
Salons,  "  Esbekieh  Square,"  "  The  Tomb  of  the  Sheik  Abou- Man- 
dour/'  "  The  Valley  of  the  Tombs  at  Thebes,"  "  The  Garden  of  the 
Mosque,"  and  "The  Ruins  of  Baalbec."  To  the  Salon  of  1844 
Marilhat  sent  eight  pictures.  Gautier  says,  that  if  the  expression  may 
be  allowed,  this  exhibition  was  to  him  the  Song  of  the  Swan,  and 
that  these  works  were  eight  diamonds.  Among  them  were,  "  A  Sou- 
venir of  the  Banks  of  the  Nile,"  "  A  Village  near  Rosetta,"  "  An 
Egyptian  City  by  Twilight,"  "  View  near  Tripoli,"  "A  Cafe  on  a  Road 
in  Syria,"  etc. 

The  first  of  these  is  his  chef-d'oeuvre.  He  felt  that  he  merited  more 
attention  from  this  Salon  than  he  received,  —  he  was  discouraged  ;  he 
fell  into  a  state  from  which  death,  even  at  his  early  age,  was  a  happy  de- 
liverance ;  and  so  passed  away,  leaving  two  or  three  hundred  pictures 
in  a  more  or  less  advanced  state.  Some  of  his  sketches  were  very 
beautiful.  M.  Camille  Marcelle  has,  at  his  house  at  Oiseme,  a  short 
distance  from  Chartres,  "  The  Ruins  of  Baalbec  "  and  three  studies. 
At  the  Wertheimber  sale  at  Paris  (1861),  "The  Entrance  to  Jeru- 
salem" (55  by  84  centimeters)  sold  for  16,000  francs.  At  the  Du- 
bois sale,  Paris  (1860),  "  The  Passage  of  the  Ford"  sold  for  7,050 
francs.  At  the  Prevost  sale,  Paris,  "  A  Bazaar  near  Jerusalem  "  sold 
for  £ 640,  and  "A  Turkish  Dance  near  the  Bosphorus"  for  ^266. 
At  the  Oppenheim  sale,  Paris,  1877,  "Ruins  near  Cairo"  sold  for 
29,000  francs. 

"  One  of  the  glories  of  Marilhat  was  that  he  preserved  his  originality  in  presence  of 
Decamps.    The  talents  of  these  two  men  are  parallel  lines,  it  is  true,  but  they  do  not 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  93 


touch  each  other ;  the  more  fruitful  fancy  of  the  one  is  balanced  by  the  character  in  the 
works  of  the  other.  If  the  color  of  Decamps  is  more  phosphorescent,  the  drawing  of 
Marilhat  is  the  more  elegant.  The  execution,  excellent  with  both,  excels  in  fineness  in 
the.  painter  who  was  carried  away  so  young  to  his  glory,  and  to  the  long  future  which 
should  await  him."  —  Theophile  Gautier,  Revue  des  Deux  Mondes,  July,  1S48. 

"  Decamps  had  painted  before  Marilhat  these  countries  and  these  figures,  and  he  had 
impressed  on  all  a  strange  character  and  a  fierce  style,  an  air  of  primitive  savageness. 
Marilhat  sees  them  with  calmer  eyes ;  he  finds  in  these  figures  a  beauty  more  human, 
and  perhaps  more  true.  He  throws  a  less  oppressive  light  over  his  pictures.  Regard- 
ing this  nature  on  its  laughing  and  magnificent  side,  he  tempers  the  violence  of  it,  and 
makes  its  high  colors  less  pronounced.  Marilhat  prefers  to  show  us  the  Happy  Arabia. " 
—  Charles  Blanc. 

Maris,  Jacques.  (Belgian.)  Born  at  The  Hague.  Pupil  of  E. 
Hebert.  At  the  Paris  Salon  of  1877  he  exhibited  "The  Plow" 
and  "Baby  and  the  Kitten";  in  1874,  "  A  View  of  Amsterdam." 
His  "  Seaweed-Gatherers  "  brought  $  1,250  at  the  Cottier  sale,  New 
York,  1878.  His  "View  in  Holland"  (belonging  to  B.  Schlesinger) 
was  exhibited  at  the  Mechanics'  Fair,  Boston,  in  1878.  To  the  Paris 
Exposition,  same  year,  he  sent  "On  the  Beach"  and  "A  Dutch 
Landscape." 

Maris,  Matthias.  (Belgian.)  Born  at  The  Hague.  Lives  in  Lon- 
don. Mr.  Cottier  has  brought  the  pictures  of  this  artist  to  America. 
One  of  them  was  called  "Where  Shadowy  Trees  their  Twilight 
make." 

Marks,  Henry  Stacy,  R.  A.  (Brit)  Born  in  London,  1829. 
He  was  a  pupil  of  the  Royal  Academy  in  1851.  In  1852,  with  Cal- 
deron,  he  went  to  Paris,  where  he  entered  the  atelier  of  Picot,  becom- 
ing later  a  pupil  of  l'Ecole  des  Beaux- Arts.  In  1853  he  returned  to 
England,  and  exhibited  his  first  picture  at  the  Royal  Academy  the 
same  year,  entitled  "  Dogberry."  In  1854  he  sent  "  Christopher  Sly  "  ; 
in  1855,  "Slender's  Courtship"  ;  in  1857,  "Bottom  as  Pyramus"  ;  in 
1858,  "A  Day's  Earnings";  in  1859,  "Dogberry's  Charge  to  the 
Watch  "(which  attracted  much  attention);  in  1860,  "The  Sexton's 
Sermon  "  ;  in  1861,  "  The  Franciscan  Sculptor  "  ;  in  1862,  "  The  Jest- 
er's Text"  ;  in  1863,  "How  Shakspere  studied"  ;  in  1864,  "Doctors  Dif- 
fer "  ;  in  1866,  "My  Lady's  Page  in  Disgrace"  ;  in  1867,  "  FalstafFs 
Own"  ;  in  1868,  "  Experimental  Gunnery  in  the  Middle  Ages"  ;  in 
1869,  "The  Minstrel's  Gallery";  in  1871  (when  he  was  elected  an 
Associate  of  the  Royal  Academy),  "  The  Book- Worm" ;  in  1872,  "Wait- 
ing for  the  Procession"  ;  in  1873,  "A  Peep  of  the  Avon";  in  1874, 
"The  Latest  Fashion"  ;  in  1875,  "Jolly  Post-Boys  "  and  "  A  Merrie 
Jester"  ;  in  1876,  "  The  Apothecary"  ;  in  1877,  "  A  Bit  of  Blue  "  and 
"  The  Spider  and  the  Fly  "  ;  in  1878,  "  Convocation."  He  is  a  member 
of  the  Society  of  Painters  in  Water-Colors.  Among  Marks'  other 
pictures,  exhibited  elsewhere,  are,  "  Jack  O'Lantern,"  "  Orpheus," 
"  May-Day  in  the  Olden  Time,"  "  The  Tinker,"  "  The  Princess  and 
the  Pelican,"  and  "  The  Missal  Painter."  To  Philadelphia,  in  1876, 
he  sent  "  The  Ornithologist "  and  "  The  Three  Jolly  Post-Boys  "  ;  to 


94       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Paris,  in  1878,  "  The  Apothecary  "  and  "  St.  Francis  and  the  Birds  " 
(in  oil),  and  "  The  Princess  and  the  Pelican."    [R.  A.,  1879.] 

"  Mr.  Marks  heads  the  list  with  a  lively  and  amusing  scene  of  'The  Beggars  coming  to 
Town  '  [R.  A.  1865],  the  best  composed  and  painted  work  which  we  remember  from  his 
pencil.  The  humors  of  the  ragged  troupe  are  carefully  discriminated."  —  Palgrave's 
Essays  on  Art. 

"The  pictorial  style  of  Mr.  Marks  is  expressly  mediaeval.  What  middle-age  sculptors 
did  in  stone,  the  painter  does  on  canvas.  The  sly  humor,  the  caustic  satire,  expended 
on  cathedral  stalls  in  centuries  past,  this  artist  now  revives  on  the  walls  of  the  Royal 
Academy."  — J.  B.  Atkinson,  English  Painters  of  the  Present  Day. 

"  It  has  been  said  in  the  columns  of  our  journal  that  Mr.  Marks  can  never  put  brush 
to  canvas  without  provoking  laughter,  and  yet  after  a  quaint  fashion  he  preserves  a  cer- 
tain style  of  dignity.  It  is  this  dignity,  mediaeval  as  it  generally  is  in  expression,  which 
gives  the  true  value  to  his  works  ;  one  can  smile  at  the  artist's  humor  while  acknowl- 
edging and  respecting  the  talent  and  patient  labor  in  which,  so  to  speak,  it  is  clothed,  or, 
in  other  words,  by  which  it  is  exemplified. "  —  Art  Journal,  December,  1870. 

"  '  A  Merrie  Jest '  is  very  characteristic  of  this  painter's  special  gifts.  The  difficulty  of 
so  subtle  a  rendering  as  this  of  the  half-checked  yet  extreme  mirth  of  persons  naturally 
humorous  can  only  be  judged  of  by  considering  how  often  aspects  of  laughter  are  at- 
tempted in  pictures  and  how  rarely  we  feel  ourselves  inclined  to  join  in  the  merriment. 
The  piece  of  accessory  landscape  is  very  unaffected  and  good,  and  the  painting  through- 
out of  good  standard  modern  quality."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Marochetti,  Baron  Charles.  (Ital.)  Born  at  Turin  of  parents 
who  were  naturalized  citizens  of  France  (1805  -  1868).  Chevalier  of 
the  Legion  of  Honor  and  Grand  Officer  of  the  Order  of  Saints  Maurice 
and  Lazarus.  Pupil  of  Bosio.  His  "  Young  Girl  playing  with  a  Dog  " 
(1827)  won  his  first  medal.  His  chef-d'oeuvre  is  a  statue  of  "Emman- 
uel Philibert,"  which  he  presented  to  the  capital  of  Sardinia.  Among 
his  works  are,  a  "bas-relief  on  the  Arc  cle  Triomphe,  the  Tomb  of  Bel- 
lini, the  high  altar  of  the  Madeleine,  and  many  other  works  in  public 
places  in  France.  After  the  Revolution  of  1848  he  went  to  England, 
where  he  made  the  colossal  "  Richard  Coeur  de  Lion,"  which  adorned 
the  entrance  to  the  Crystal  Palace,  and  was  cast  in  bronze  by  national 
subscription  ;  an  equestrian  statue  of  the  Queen  for  the  city  of  Glas- 
gow ;  a  granite  obelisk  erected  to  the  memory  of  the  soldiers  who  fell 
in  the  Crimean  War ;  various  ideal  subjects,  and  many  portraits,  among 
which  was  that  of  Prince  Albert.  In  the  country  of  his  adoption  he 
found  many  powerful  friends,  and  received  numerous  commissions  for 
both  public  and  private  works. 

Marshall,  Charles.  (Brit.)  Born  in  London,  1806.  Like  Stan- 
field,  Bough,  and  other  prominent  artists,  he  began  his  professional 
career  as  a  scene-painter,  working  in  that  capacity  in  London  for 
many  years.  He  was  articled  as  a  lad  to  Marinari,  the  Italian  scenic- 
artist  of  Drury  Lane  Theater.  He  was  at  the  Covent  Garden  Theater 
while  under  the  management  of  Mr.  Macready,  and  at  the  Haymarket 
Theater  when  the  same  actor  first  produced  Bulwer's  "  Money."  He 
first  introduced  the  lime  light  for  the  illustration  of  dramatic  tableaux, 
and  in  his  long  experience  has  been  associated  in  the  production  of 
many  remarkable  stage  effects  in  the  British  metropolis.    He  illus- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  95 


trated  by  a  diorama  the  interior  view  of  the  coronation  of  William 
IV.  in  Westminster  Abbey;  assisted  at  the  decoration  of  the  same  ca- 
thedral at  the  time  of  the  coronation  of  Victoria ;  painted  moving 
panoramas  of  the  "  Naval  Victories  of  Great  Britain,"  "  The  Battles 
of  Napoleon  I.,"  "Overland  Route  to  India  "  (a  Christmas  pantomime 
written  by  Douglas  Jerrold),  "  Tour  of  Europe,"  "  The  Crimean  Cam- 
paign," "The  Great  Gold  Fields,"  etc.  He  has  now  retired  from 
scenographic  work,  devoting  himself  to  landscape-painting,  depicting 
chiefly  scenes  of  North  Wales,  Snowden,  etc.,  also  views  in  War- 
wickshire, Derbyshire,  Devonshire,  and  Hampshire.  He  studied  oil- 
painting  under  John  Wilson,  and  when  eighteen  years  of  age  received 
the  gold  Isis  Medal  of  the  Society  of  Arts  for  a  picture  in  oil.  A  view 
of  the  Glyddye  range  of  mountains,  painted  for  the  Lady  Marion 
Alford,  is  now  at  Ashridge,  the  seat  of  Earl  Brownlow.  His  "  Even- 
ing Lights  "  was  at  the  Royal  Academy  in  1878.  Mr.  Marshall  has 
contributed  to  various  publications,  including  Henshall's  "  Vicinity  of 
London,"  "  The  Gallery  of  British  Artists,"  etc. 

"On  a  certain  occasion  when  Macready  brought  out  'The  Tempest,'  I  remember 
Leigh  Hunt  standing  up  in  the  box,  involuntarily,  and  murmuring,  with  tears  of  rapture 
in  his  eyes,  '  0,  it  is  too  beautiful ! '  at  the  moment  the  curtain  drew  up  and  presented 
the  seashore  of  the  Enchanted  Isle,  with  the  long  waves  of  the  tide  slowly  moving  down 
towards  the  spectators,  and  then  bristling  into  sparkling  foam  and  running  onwards  in 

broad  silver  ridges  and  ripples  over  the  yellow  sands  On  another  occasion,  when 

Macready  brought  out  *  As  You  Like  It,'  the  Forest  of  Arden,  where  the  romantic  Duke 
had  taken  up  his  abode,  was  represented  at  his  rustic  palace,  with  an  entire  covering  of 
tangled  boughs  and  foliage  high  overhead,  among  the  leaves  of  which,  with  their  delicate 
tints,  peeps  of  sky,  and  glancing  green  lights,  there  was  a  constant  moving  and  fluttering 
as  of  soft  winds  and  small  birds,  whose  sweet  warbling  fitfully  blended  with  the  subdued 
strains  of  the  orchestra  below." — R.  H.  Horne,  The  Burlesque  and  the  Beautiful, 
Contemporary  Review,  October,  1871. 

Marshall,  William  C,  R.  A.  (Brit)  Born  in  Edinburgh,  1813. 
Went  to  London  at  an  early  age,  studying  sculpture  under  Baily  and 
Chantrey.  He  first  exhibited  at  the  Royal  Academy  in  1835.  The 
next  year  he  went  to  the  Continent,  spending  some  time  in  work  and 
study  at  Rome.  He  opened  a  studio  in  London  in  1839,  and  was 
elected  a  member  of  the  Royal  Academy  in  1852.  In  1857  he  re- 
ceived a  prize  for  designs  for  the  National  Monument  to  the  Duke  of 
Wellington,  to  be  placed  in  St.  Paul's,  London.  He  executed  the 
statues  of  Somers  and  Clarendon  in  the  Houses  of  Parliament,  of 
Sir  Robert  Peel  at  Manchester,  of  Jenner  in  Kensington  Gardens. 
Among  his  ideal  works  may  be  mentioned,  "  The  Broken  Pitcher,"  in 
1842;  "The  Dancing-Girl  Reposing"  (which  won  the  Art  Union 
Prize),  "  Fresh  from  the  Bath,"  "  The  Carrier-Pigeon,"  "  Jael,"  in 
1867;  "Psyche,"  in  1868;  " The  Christian  Martyr,"  in  1871;  "Ruth," 
in  1872;  "  The  Old  Story  "  and  "  The  New  Story"  (in  terra-cotta),  in 
1874;  "  Convalescence,"  in  1875;  "Pygmalion's  Statue,"  in  1876;  "The 
Prodigal  Son,"  in  1877;  "Early  Troubles"  and  "  Whispering  Vows  to 
Pan,"  "in  1878.    [A.  R.  S.  A.,  184Q.] 


96       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Marshall,  Robert  Angelo  Kittermaster.  (Brit.)  Born  in  1849. 
Studied  under  his  father,  Charles  Marshall.  Landscape-painter.  Mem- 
ber of  the  Langham  Sketching  Club,  elected  in  1872,  and  of  the  Artist 
and  Amateur  Conversazione  Society,  elected  in  1876.  He  has  spent 
his  professional  life  in  London,  exhibiting  at  the  Royal  Academy,  and 
elsewhere  in  the  metropolis  and  in  the  Provinces.  Among  his  works 
are,  "  Looking  towards  Arthog,"  "In  the  late  Summer- Time,  Hants," 
"  A  Shallow,  Weedy  River,  Hants,"  "  Sultry  Autumn,  Sussex." 

Marshall,  Thomas  W.  (Am.)  (1850-1874.)  A  young  land- 
scape and  genre  painter  of  much  promise.  Comparatively  self-edu- 
cated as  an  artist.  He  exhibited  at  the  National  Academy,  in  1871, 
"Near  Bellows  Falls";  in  1873,  "An  Interior  at  Barbison,  France"; 
in  1874,  "  Late  Afternoon  in  the  Forest,  Keene  Flats." 

Marstrand,  William  Nicolas.  (Dane.)  Born  at  Copenhagen 
(1810  -  1873).  He  spent  some  time  in  Germany  and  Italy,  and  on  his 
return  to  his  own  country,  was  made  Professor  and  then  Director  of 
the  Academy  of  Beaux- Arts,  at  Copenhagen.  Marstrand  became  very 
celebrated  in  Denmark  by  his  portraits  and  genre  pictures.  He  sent 
works  to  Paris,  where  his  color  was  not  admired,  but  seemed  false  and 
exaggerated.  Several  works  by  this  artist  were  exhibited  at  Paris  in 
1878. 

Martin,  Homer  D.,  N.  A.  (Am.)  Native  of  Albany,  N.  Y. 
With  the  exception  of  a  few  weeks'  study  under  William  Hart,  early 
in  his  career,  he  is  entirely  self-taught  as  an  artist.  For  many  years 
he  has  had  a  studio  in  New  York.  He  is  a  member  of  the  Artists' 
Fund  Society  of  that  city,  of  the  Society  of  American  Artists,  and  of 
the  National  Academy,  of  which  he  was  elected  Associate  in  1868 
and  Academician  in  1875.  He  has  been  successful  as  a  landscape- 
painter.  Among  his  works  are,  "  An  Equinoctial  Day "  (belonging 
to  Dr.  F.  N.  Otis),  "Brook  in  the  Woods"  (belonging  to  Dr. 
Mosher),  "  The  Footpath  "  and  "  In  the  Adirondacks  "  (to  John 
Middleton),  "  Spring  Morning  "  (to  Montgomery  Schuyler),  "  Morn- 
ing on  the  Lake,"  "A  Cloudy  Day,"  "Hemlock  Woods,"  "The 
Thames  at  Richmond,"  "  Idling,"  etc.  His  "  Adirondacks  "  (belong- 
ing to  the  Century  Club)  was  at  the  Philadelphia  Exposition  of  1876. 
During  the  summer  of  1878  he  made  a  series  of  sketches  of  the  homes 
of  American  Poets  for  Scribner's  Monthly. 

"  Homer  Martin  is  seen  in  a  tenderly  and  originally  treated  '  Evening  on  the  Saranac ' 
[Artists'  Fund,  1878],  with  almost  gorgeous  radiance  streaming  through  and  athwart 
the  river  ;  a  genial,  vivacious,  winning  representation,  not  destitute  of  truest  poetry." 
—  New  York  Evening  Post,  January  15,  1878. 

"'Sand-Dunes  on  Lake  Ontario,'  by  Homer  Martin  [Society  of  American  Artists, 
1878],  is  worthy  of  a  place  conceived  by  Dante  in  his  saddest  and  most  lonely  hours.  A 
gray  sky  and  an  atmosphere  loaded  with  dust  envelop  some  stricken,  sear  trees,  whose 

torn  and  shattered  limbs  are  half  lost  in  drifts  of  white  sand  This  painting 

haunts  one  like  a  melancholy  dream,  and  we  wonder  what  sad  mood  it  was  in  the  artist 
that  could  have  clothed  itself  in  a  scene  so  dreary  and  hopeless  as  this.  As  a  purely  'im- 
pressionist '  picture  this  takes  its  place  with  the  dreamy  distances  of  Corot  or  the  'Sil- 
ver Nocturnes  '  of  Whistler."  —  Art  Journal,  April,  187S. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


97 


Martineau,  Robert  B.  {Brit)  Born  in  London  (1826- 1869). 
Educated  at  the  University  of  London.  He  was  for  four  years  in  the 
office  of  a  lawyer.  In  1846  he  turned  his  attention  to  art,  entered 
the  Royal  Academy  in  1848,  obtaining  a  medal  in  1851.  Later  he 
was  for  a  short  time  a  pupil  of  Holman  Hunt.  He  exhibited  for  the 
first  time  at  the  Royal  Academy,  in  1852,  "  Kit's  Writing- Lesson  "  ; 
in  1855,  "  Katherine  and  Petruchio  "  ;  in  1856,  "  The  Lesson  "  ;  in 
1861,  "  The  Allies  "  ;  in  1863,  "  The  Last  Chapter  "  ;  in  1866,  "  The 
Frog  Prince."  He  sent  to  the  International  Exhibition  of  1862,  "  The 
Last  Day  in  the  Old  Home,"  which  is  perhaps  his  most  important 
picture,  and  which  attracted  much  attention.  It  has  since  been  en- 
graved. 

"  Mr.  Martineau's  single  picture,  a  girl,  who  has  knelt  down,  while  she  finishes  the 
last  chapter  [R.  A.  1863]  of  some  absorbing  book,  is  one  of  the  most  satisfactory  pieces 
of  design  and  execution  on  the  walls  ;  what  we  rather  miss  in  it  is  the  sentiment  of 
beauty.  Besides  the  expression  of  the  young  lady's  face,  the  skillful  gradation  of  the 
chiaroscuro  as  the  room  recedes  from  the  light,  and  the  skill  with  which  the  cool  colors 
have  been  harmoniously  carried  into  the  center  of  the  piece  by  aid  of  the  cover  of  the 
book,  deserve  especial  notice."  —  Palgrave's  Essays  on  Art. 

Martinet,  Achille-Louis.  {Ft.)  Born  at  Paris,  1806.  Member 
of  the  Institute.  Officer  of  the  Legion  of  Honor  and  Chevalier  of 
the  Order  of  Leopold.  Pupil  of  Heim  and  Forster.  Most  of  the 
plates  of  this  celebrated  engraver  are  after  the  works  of  the  older 
masters  ;  a  few,  however,  are  from  those  of  the  artists  of  this  century. 
Among  these  last  are  the  "  Charles  I."  and  "  Mary  in  the  Desert," 
after  Delaroche  ;  "  The  Last  Moments  of  Count  Egmont "  and 
"  Counts  Egmont  and  Horn,"  after  Gallait  ;  "  The  Adulteress,"  after 
Signol  ;  "  Tintoretto  by  the  Couch  of  his  Daughter,"  after  Cogniet ; 
etc. 

Marzaroli,  Cristoforo.  (Ital.)  Born  near  Parma  (1837  - 1871). 
As  a  boy  he  attracted  much  attention  by  his  small  plaster  figures. 
He  studied  under  Ferrarini  at  Parma,  and  there  modeled  his  "  St. 
Sebastian  Bound,"  which  brought  him  into  notice.  His  statue 
of  Parmigianino  is  in  the  Gallery  of  Parma.  By  this  last  work  he 
gained  the  right  to  go  to  Rome,  where  he  modeled  his  "  Nostalgia,"  or 
"  Home-Sickness."  In  1870  he  gained  the  first  prize  at  the  National 
Artistic  Exposition.    He  made  a  statue  of  Romagnosi  for  Piacenza. 

Masini,  Girolamo.  {Ital.)  Born  at  Florence,  1840.  Professor 
of  Sculpture  in  Rome.  Pupil  of  Costoli.  He  won  the  prix  de  Rome 
at  Florence,  and,  going  there  to  continue  his  studies,  has  remained. 
His  first  work  was  "  Cola  di  Rienzi,"  which  had  much  merit.  His 
statue  of  Fabiola  has  gained  him  several  medals,  and  is  worthy  all 
the  praise  it  has  received.  Among  his  other  works  are  a  statue  of 
"  Cleopatra,"  one  of  "  Hagar,"  and  one  of  "  Adelaide  Cairoli,"  erected 
at  Gropello. 

Mason,  George  H.,  A.  R.  A.  {Brit.)  Born  in  Staffordshire. 
Died,  1872.    He  intended  to  study  for  the  medical  profession,  but  be- 

VOL.  II.  5  G 


98       ARTISTS  OF  THE  NINETEENTH  CENTURY. 


came  an  artist  while  still  a  young  man,  studying  in  Rome,  and  paint- 
ing  there  his  "  Plowing  in  the  Salt-Marshes  of  the  Campagna,"  and 
other  pictures.  In  1862  he  sent  to  the  Eoyal  Academy,  London, 
"  Mist  on  the  Moors"  ;  in  1863,  "  Catch"  ;  in  1864,  "Return  from 
Plowing";  in  1865,  "The  Geese"  and  "The  Gander";  in  1866, 
"  Yarrow  "  and  "  The  Young  Anglers  "  ;  in  1867,  "  Evening,  Mat- 
lock "  ;  in  1868,  "  Netley  Moor."  In  1869  (when  he  was  elected  As. 
sociate  of  the  Royal  Academy)  he  contributed  "  Only  a  Shower  "  ; 
in  1870,  "Landscape,  Derbyshire";  in  1871,  " Blackberry- Gather- 
ing "  and  "  The  Milkmaid "  ;  in  1872,  «  Harvest  Moon."  Two 
hundred  of  his  pictures,  collected  after  his  death,  were  exhibited  in 
London  in  1873. 

"  The  charm  of  these  pictures  does  not  lie  in  the  realism  with  which  he  has  painted 
the  scenes,  although,  according  to  the  Spectator,  he  has  given  in  them  the  life  of  the 
midlands  with  a  truthfulness  which  even  George  Eliot  has  not  exceeded  in  her  writings, 
but  in  the  idealism  that  he  has  put  into  his  fields  and  commons  and  country  roads, 
with  their  peculiar  groups,  that  renders  them,  while  perfectly  true,  perfectly  idyllic."  — 
Mrs.  Tytler's  Modem  Painters. 

"  The  colors  are  uncommonly  tender  and  bright ;  the  grays  are  managed  with  a  skill 
which  all  who  have  handled  a  brush  will  envy,  and  every  line  in  the  little  work 
[ '  Catch '  ]  shows  that  fresh  originality  of  invention  or  that  first-hand  recurrence  to 
Nature,  which  gives  an  inimitable  air  of  masterliness  to  landscape.  The  children  and 
horses,  although  on  a  small  scale,  are  studied  with  a  truth  and  feeling  worthy  of  the 
fine  'Landscape  of  the  Campagna,'  by  which  Mason  won  for  himself  distinction  at  the 
International  Exhibition. "  —  Palgrave's  Essays  on  Art. 

"Mr.  Mason's  sources  of  inspiration  have  been  very  humble,  but  his  impersonations 
are  carried  out  with  a  refinement  above  their  presumed  position.  He  sets  the  grammar 
of  Art  at  defiance  in  composition,  and  whether  he  may  or  may  not  have  looked  at  the 
conceptions  embodied  on  antique  vases,  we  are  reminded  here  and  there  of  the  spirit  of 
them.  The  spirit  of  Mr.  Mason's  manner  may  be  signalized  as  that  of  the  '  Harvest 
Moon,'  and  in  studying  that  really  admirable  picture  we  are  impressed  with  the  amount 
of  learning  shown  there."  —  Art  Journal,  March,  1873. 

Massaloff,  Nicolas.  (Russian.)  Born  at  Moscow,  1846.  Mem- 
ber of  the  Academy  of  St.  Petersburg.  Medal  at  the  Salon  of 
1873.  The  father  of  this  engraver,  a  distinguished  connoisseur 
and  collector  of  works  of  art,  gave  his  son  every  advantage  and  en- 
couragement in  his  artistic  pursuits.  He  studied  at  Moscow,  then 
at  Dresden  under  Kriebel,  and  lastly  at  Paris  under  Flameng.  He 
then  returned  to  Russia,  and  commenced  a  series  of  engravings  after 
the  masterpieces  in  the  Hermitage  at  St.  Petersburg.  He  has  pub- 
lished sixty  plates  as  the  result  of  this  undertaking.  Although  at 
first  considered  an  amateur,  Massaloff  is  now  recognized  as  a  true 
artist. 

Matejko,  Jean  Aloysius.  (Pole.)  Born  at  Cracow,  1838. 
Chevalier  of  the  Legion  of  Honor.  Studied  in  Cracow,  Munich, 
and  Vienna.  He  occupies  the  first  rank  among  modern  painters  of 
Polish  history.  In  1874  he  exhibited,  at  the  Paris  Salon,  "  Ijltienne 
Bathori,  King  of  Poland,  before  Pskow,  1582 "  ;  in  1870,  "  The 
Union  of  Lublin,  1569  " ;  in  1865,  "  The  Sermon  of  Pierre  Skarga  " ; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  99 


etc.  In  1875  he  exhibited,  at  Cracow,  "  The  Placing  of  the  Bells  in 
the  Cathedral  of  Cracow  in  1521,  in  Presence  of  King  Sigismond 
and  his  Court. "  He  published  in  1860  twelve  illustrations  of  Polish 
costume.    Charles  Yriarte  says  :  — 

"  There  is  in  the  works  of  Matejko  a  vignette  appearance  which  paralyzes  the  effect 
which  his  well-ordered  compositions  should  have.  His  atmosphere  is  always  violet-col. 
ored." 

"  Matejko,  who  is  especially  consecrated  to  retrace  the  grand  episodes  of  the  history 
of  Poland,  has  a  talent  of  a  singular  sort,  which  enters  into  no  category  of  the  French 
school.  By  a  certain  romantic  boldness  he  reminds  us  vaguely  of  Delacroix  ;  by  a  cerr 
tain  ugly  sincerity  he  approaches  Robert-Fleury  ;  by  a  certain  brutal  realism  he  some, 
times  recalls  Hogarth  ;  by  a  certain  systematic  barbarity  he  borders  upon  Gustavo 
Dore,  and  the  humorous  pictures  of  Vibert,  all  brought  together  in  enormous  canvases, 
fifteen  or  twenty  feet  long,  encumbered  with  people  in  divers  costumes,  full  of  bizarre 
details,  spotted  with  brilliant  colors,  which  are  piled  one  on  the  other  so  that  the  aii 
and  the  light  cannot  play  between  them.  At  first  the  eye  suffers  from  this  tumult, 
then  one  discovers  an  original  composition,  great  firmness  of  drawing,  energetic  and  free 
attitudes,  and  figures  of  surprising  rudeness."  —  Ernest  Duvergier  de  Hauranne, 
Revue  des  Deux  Mondes,  June,  1874. 

Mathieu,  Lambert  Joseph.  (Belgian.)  Born  at  Bure  (1804- 
1861).  Knight  of  the  Order  of  Leopold.  Pupil  of  Van  Bree.  A 
painter  of  historical,  scriptural,  and  genre  subjects.  Director  of  the 
Academy  of  Louvain.  Some  of  his  best  works  are  in  the  Museums 
of  Louvain  and  Brussels. 

Matout,  Louis.  (Fr.)  Born  at  Charleville,  1813.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  l'jficole  des  Beaux- Arts.  The  prin- 
cipal works  of  this  artist  have  been  cartoons  for  decorative  paintings. 
Among  his  easel-pictures  are,  "  A  Woman  of  Boghari  killed  by  a 
Lion"  (1855),  at  the  Luxembourg;  "St.  James  the  Great  bap- 
tizing the  Young  Scribe,"  "  Florentine  Landscape,"  "  Venus  Pande- 
mos,"  and  "  Marriage  of  Bacchus  and  Ariadne." 

Matteson,  Tompkins  H.,  A.  N.  A.  (Am.)  Born  in  Madison 
County,  N.  Y.,  1813.  As  a  boy  he  was  an  enthusiastic  art  student, 
following  his  profession  under  many  difficulties.  He  entered  the  Na- 
tional Academy,  and  painted  portraits  in  the  city  and  state  of  New 
York  for  some  years.  His  "  Spirit  of  '76,"  purchased  by  the  Ameri- 
can Art  Union,  first  brought  him  into  notice  as  an  artist.  Among 
his  early  works  are  his  "  First  Sabbath  of  the  Pilgrims,"  "  Examina- 
tion of  a  Witch,"  "  Perils  of  the  Early  Colonists,"  "  Eliot  preaching 
to  the  Indians,"  "  First  Sacrament  on  the  American  Shores,"  "  Rip 
Van  Winkle's  Return  from  the  Mountains,"  "Rustic  Courtship," 
"  First  Ride,"  "  Morning  Meal,"  and  his  portrait  of  Mayor  Have- 
meyer,  in  the  City  Hall,  New  York.  He  lived  in  New  York  from 
1840  to  '51,  when  he  removed  to  Sherbourne,  N.  Y.  Mr.  Matteson 
has  been  for  many  years  an  Associate  of  the  National  Academy,  but 
his  pictures  have  not  been  seen  on  its  walls  since  1869,  when  he  ex- 
hibited "  At  the  Stile  "  and  "  Foddering  Cattle."    [Died,  1884.] 

"  Matteson's  early  groups  judiciously  avoid  extravagance,  are  often  harmonious  in 
color,  but  sometimes  want  vigor  of  handling  The  national  and  rustic  subjects 


100     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


drawn  by  this  pioneer  genre  painter  indicate  the  average  taste  of  the  people,  and  sug- 
gest what  themes  executed  with  greater  finish  and  more  subtle  elaboration  would  most 
successfully  illustrate  this  branch  of  art  among  us."  —  Tuckerman's  Book  of  the  Artists. 

Maureta,  Gabriel.  (Span.)  Medal  at  the  Philadelphia  Exposi- 
tion, where  he  exhibited  "  Torquato  Tasso  retiring  to  the  Monastery 
of  St.  OnoMo,"  which  was  commended  for  artistic  excellence. 

Mauve,  Anton.  (Dutch.)  Born  at  Zaandam.  Medal  at  Phila- 
delphia, where  he  exhibited  "  Hauling  up  the  Fishing-Boat,"  which 
was  especially  noted  as  praiseworthy  by  Mr.  Weir  in  his  report. 
Mauve  is  the  pupil  of  P.  F.  Van  Os.  At  Paris  in  1877  he  exhibited 
"  Discharging,"  and  in  1876  two  pictures  with  cows.  At  the  Cottier 
sale,  New  York,  1878,  "  Pastures  in  Holland"  sold  for  $  1,500.  His 
"Seaweed-Gatherers,"  belonging  to  Thomas  G.  Appleton,  and  the 
"  Forester's  Team,  —  Frosty  Morning,  Holland,"  belonging  to  B. 
Schlesinger,  were  "exhibited  at  the  Mechanics'  Fair  in  Boston  in  1878. 
At  the  Paris  Exposition,  same  year,  was  his  "  Landscape  with  Sheep, 
—  Winter." 

Max,  Gabriel.  (Ger.)  Born  at  Prague,  1840.  Son  of  Joseph 
Max,  a  well-known  sculptor.  Pupil  of  Blaas,  Kurzbauer,  and  Piloty. 
Whenever  his  name  is  mentioned  by  the  writers  upon  German  art 
of  to-day,  his  power  and  originality  are  admitted  and  admired. 
Many  of  his  works  are  tragic  in  the  extreme.  That  called 
"  Gretchen  "  seems  to  show  forth  the  whole  experience  of  Marguerite 
both  in  this  world  and  the  next ;  it  is  a  wonderful  conception  mar- 
velously  carried  out,  and  is  said  to  be  a  favorite  picture  with  the 
artist  himself.  Among  his  other  works  are,  "  The  Lion's  Bride," 
"  The  Young  Christian  Martyr,"  "  The  Anatomist,"  "  The  Melancholy 
Nun,"  etc.  Early  in  1878  he  exhibited  at  Vienna  "The  Infanticide." 
It  represents  a  mother  kneeling  on  the  bank  of  a  stream,  and  wildly 
fondling  the  body  of  the  baby  she  is  about  to  cast  into  the  water.  In 
"  L'Art  "  we  read  :  — 

' '  The  face  of  the  woman  is  bowed  down  and  half  concealed,  in  a  manner  that  leaves 
much  to  be  divined,  but  the  impression  is  none  the  less  painful  and  profound.  Concern- 
ing the  execution,  and  especially  the  color,  we  are  assured  that  this  painting  is  superior 
to  all  those  works  of  thij*  artist  which  have  before  made  a  sensation  in  Germany." 

His  "  Light "  is  in  the  possession  of  E.  B.  Haskell  of  Boston. 

"  When  we  come  to  Gabriel  Max  we  find  a  genius,  to  the  analysis  of  whose  masterly 
conceptions  we  should  much  prefer  devoting  a  chapter  instead  of  a  few  meager  para- 
graphs. In  respect  of  mental  grasp  and  imagination,  combined  with  technical  ability, 
we  should  give  the  first  place  in  the  contemporary  Munich  school  to  Max  and  Bocklin. 
Artists  and  public  are  alike  agreed  upon  the  surpassing  character  of  Max's  works,  al- 
though, of  course,  some  prefer  one  painting  to  another,  while  the  rather  morbid  ten- 
dency of  his  subjects  makes  these  paintings  better  suited,  perhaps,  to  exhibition  in  a 
public  gallery  than  in  a  private  drawing-room."  —  S.  G.  W.  Benjamin,  Contemporary 
Art  in  Europe. 

May,  Edward  Harrison,  A.  N.  A.  (Am.)  Born  in  England.  Was 
taken  to  America  when  a  child,  and  displayed  artistic  tastes  and 
talents  at  an  early  age.   As  a  young  man  he  studied  civil  engineering. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  101 


but  soon  abandoned  that  profession  for  the  brush.  In  the  beginning 
of  his  career  he  was  a  portrait-painter,  later  devoting  himself  to  the 
production  of  historical  and  genre  pictures.  He  was  a  pupil  of  Hunt- 
ington in  New  York,  and  in  1851  he  entered  the  studio  of  Couture 
in  Paris.  One  of  his  first  works  was  a  panorama  of  "  The  Pilgrim's 
Progress,"  successfully  exhibited  throughout  the  United  States. 
Much  of  Mr.  May's  professional  life  has  been  spent  in  Europe  ;  at 
present  (1884)  he  is  living  in  Paris.  He  was  made  a  member  of  the 
National  Academy  of  Design  in  1876,  but  his  pictures  are  rarely  ex- 
hibited there.  In  1869  he  sent  "  Louis  XIV.  at  Marly "  ;  in  1876, 
"  May  and  December "  ;  in  1878,  "  Teresina."  Among  the  better 
known  of  his  earlier  works  are,  "  Cardinal  Mazarin  taking  Leave  of 
his  Picture  in  the  Louvre,"  "  Michael  Angelo  leaving  the  Vatican  in 
Anger,"  "  Lady  Jane  Grey  taking  Leave  of  the  Governor  of  the 
Tower,"  "  Columbus  making  his  Will,"  "  King  Lear  and  Cordelia," 
"Young  Woman  at  her  Toilet,"  "Greek  Slave,"  "Esmeralda," 
*'  Scene  from  Waverley,"  "  Death  of  a  Brigand  "  (which  took  a  gold 
medal  at  the  Paris  Salon  of  1855,  and  was  exhibited  at  the  National 
Academy,  New  York,  a  few  years  later),  and  "  Francis  I.  lamenting 
the  Death  of  his  Son "  (of  which  Theophile  Gautier  said,  "  The 
whole  painting  is  well  executed,  the  composition  very  good").  In 
the  Paris  Salon  of  1866  he  exhibited  a  portrait  of  M.  E.  Laboulaye 
(belonging  to  the  Union  Club,  New  York)  and  "  Amy  Robsart  et  le 
Colporteur  "  ;  in  1868  he  sent  "  Ophelia  "  and  "  La  Lecture  "  ;  in 
1869,  portrait  of  Anson  Burlingame  ;  in  1870,  "  Arviragus  bearing 
the  Body  of  Imogen,"  a  scene  from  Shakspere's  "  Cymbeline  "  ;  in 
1872,  portrait  of  Gen.  John  Meridith  Read  ;  in  1873,  "  Mary  Magda- 
len at  the  Sepulcher "  ;  in  1874,  "  Fin  de  la  lecture "  and  "  Sou- 
venir de  la  Commune  "  ;  in  1876,  "  Une  Alsacienne  "  ;  and,  in  1877, 
"Antonia."  He  has  painted  many  portraits,  ranking  very  high  in 
that  branch  of  the  profession. 

Mayer,  Etienne-Francois-Auguste.  (Fr.)  Born  at  Brest,  1805. 
Officer  of  the  Legion  of  Honor.  This  painter  has  treated  some 
genre  subjects  and  executed  some  portraits,  but  he  is  essentially  a 
painter  of  marine  views.  He  has  made  numerous  voyages  for  the 
purpose  of  study.  His  "  Taking  of  the  Island  Episcopia  "  is  at  Ver- 
sailles. , 

Mayer,  Karl.  (Ger.)  Born  at  Vienna  (1810  -  1876).  Professor  at 
the  Academy  of  Vienna.  Knight  of  the  Orders  of  Francis  Joseph  and 
of  Gregory  the  Great.  Studied  at  the  Academy  of  Vienna  under  Pro- 
fessor Eselhofer.  He  made  sketching-tours  in  various  parts  of  Germany 
and  Switzerland,  and  passed  some  time  in  Munich,  where  he  studied 
diligently.  Later,  he  settled  in  Vienna.  In  1842  he  gained  a  prize 
at  Vienna  for  his  picture  of  "  Prometheus  and  Pandora,"  which  ena- 
bled him  to  go  to  Rome,  in  which  city  he  lived  six  years,  only  leaving 
it  for  occasional  excursions.    He  was  much  at  the  house  of  Count  von 


102     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Liitzow,  where  be  was  an  honored  guest,  Mayer  painted  portraits, 
historical  subjects,  and  landscapes. 

Mayer,  Eduard.  (Ger.)  Born  at  Asbacher  Hutte,  1812,  He  re- 
ceived the  title  of  Professor  from  the  Grand  Duke  of  Bavaria;,  and 
medals  at  Paris  and  Berlin.  Pupil  of  the  Berlin  and  Dresden  Acad- 
emies, and  of  Kauch  and  EietscheL  He  also  at  Paris  was  under 
David  d' Angers.  In  1842  he  settled  at  Rome.  At  the  National  Ber- 
lin Gallery  is  "  Mercury  attacking  Argus,"  life-size  figures  in  marble. 

Mayer,  Prank  B.  (Am.)  Born  in  Baltimore,  1827.  He  studied 
under  Alfred  J.  Miller  of  Baltimore,  and  in  Paris  under  Gleyre  and 
Brion,  His  professional  life  has.  been  spent  in  Baltimore,  Paris,,  and 
Annapolis^  where  his  studio  now  is.  He  has  traveled  extensively  in 
Europe  and  the  United  States,,  in  1851  visiting  the  Dacotah  Indians 
in  the  Territory  of  Minnesota  under  peculiarly  favorable  circum- 
stances for  observing  their  festivals  and  manners.  He  made  a  large 
collection  of  life  studies  of  the  Indian  character.,  with  a  journal  of  his 
experiences  among  them,  a  few  of  which  were  published  in  School- 
craft's a  History  of  the  Indian  Tribes."  The  majority  of  these 
sketches,  which  are  still  in  Mr.  Mayer's  possession,  will  no  doubt  at 
some  future  time  be  of  much  historic  value.  During  a  residence  in 
Paris  from  1864  to  T69  he  exhibited  in  the  Salons  there  ;  before  and 
after  that  time,  in  New  Yorky  Philadelphia,  Washington,,  and  Baltimore. 
Among  .is  crayon  heads  are  those  of  Chief  Justice  Taney,  J.  V.  L. 
McMahon,  Mayor  Latrobe  of  Baltimore,  and  others.  His  "  Indian 
Thanksgiving  w  belongs  to  S.  G.  Wyman  ;  "  The  Attie  Philosopher  " 
and  "A  Marine  Painter, n  to  C.  L.  Mayer;  "The  Continentals/7  to 
G.  B.  Coale  ;  "  Waiting  Orders,'7  to  J.  W.  McCoy,  all  of  Baltimore  ; 
n Maryland  in  1750/' to  the  Peabody  Institute  of  that  city.  "The 
Nineteenth  Century  n  belongs  to  Parke  Godwin  ;  a  The  Boar's  Head/" 
to  Edward  G.  Donelly  of  New  York  ;  *  The  King's  Jester  w  was  in 
the  collection  of  the  late  Copley  Greene  of  Boston ;  George  Biggs  of 
Washington  has  "  The  Cavalier  "  and  u  A  Lost  Letter  "  ;  and  W.  H. 
Herriman,,  Borne,  "A  Tailor  in  1500. w 

"  The  Continentals  "  and  "  The  Attic  Philosopher 77  were  at  the  Cen- 
tennial Exhibition  in  Philadelphia  in  1876?  for  which  he  received  a 
medal  and  diploma. 

Mayer,  Constant,  A.N.  A.  (Fr.-Am.)  Born  in  Besancon  (Doubs), 
France,  1831.  Chevalier  of  the  Legion  of  Honor.  He  went  to  Paris 
as  a  youth,  entering  1*£ cole  des  Beaux-Arts,  and  studying  under  Leon 
Cogniet  for  some  time.  He  lived  and  painted  in  that  city  until  his 
removal  to  New  York  in  1857,  where  the  rest  of  his  professional  life 
has  been  spent,  with  the  exception  of  yearly  visits  to  Paris.  His 
specialty  has  been  life-sized  genre  pictures,  which  have  been  exhibited 
in  nearly  all  the  chief  cities  of  America,  and  have  been  very  popular. 
Many  of  them  have  been  chromoed,  photographed,  and  engraved.  He 
is  a  frequent  contributor  to  the  French  Salon,  of  which  he  is  Hors  Con- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  103 


tours.  He  received  the  Cross  of  the  Legion  of  Honor  in  1869.  Among 
the  better  known  of  Mr.  Constant  Mayer's  works  are,  "  Consolation,7* 
painted  in  1864  (belonging  to  Mrs.  Frodsham)  ;  "Recognition,"  in  1865 
(belonging  to  Joseph  Stiner,  New  York)  ;  "  Good  Words,"  in  1866  (in 
the  collection  of  MacGregor  Adams  of  Chicago)  ;  "  Love's  Melan- 
choly "  (the  property  of  Mr.  S.  M.  Scheffer,  New  York)  ;  "  The  Con- 
valescent "  (owned  in  Montreal)  ;  "  Eiches  and  Poverty "  ;  "  Maud 
Miiller  "  ;  "  Street  Melodies  "  (belonging  to  George  King,  New  York)  ; 
"  The  Organ-Grinder "  (to  Isaac  Van  Arden  of  Brooklyn)  ;  "  The 
Witch's  Daughter  "  (to  Mrs.  Bergholz,  New  Rochelle)  ;  "  The  Oracle 
of  the  Field "  (to  M.  de  Lizardi  of  New  Orleans)  ;  "  The  Song  of 
the  Shirt"  ;  "  The  Dream  of  Love  "  ;  "  Prose  and  Poetry  "  ;  etc. 

In  portraiture  he  has  been  very  successful,  painting  Mme.  de  Li- 
zardi, Lady  of  Honor  to  the  ex-Empress  Carlotta,  General  Grant, 
General  Sheridan,  and  many  people  of  distinction  in  this  country  and 
France.  His  "  Love's  Melancholy  "  was  at  the  Centennial  Exhibition 
of  1876. 

"The  whole  story  of  the  picture  ['Maud  Miiller']  is  of  course  told  in  the  face  of  the 
girl,  but  so  is  it  completely  related  in  her  two  eyes  only  The  drawing  of  the  pic- 
ture is  true  and  good,  but  this  is  not  remarkable  in  Mr.  Mayer's  pictures.  More  notice- 
able is  the  skill  exhibited  in  the  coloring,  — the  foliage,  running  stream,  and  rock  in  the 
foreground,  expressly  being  master  strokes  of  art,  —  the  whole  making  one  of  the  most 
pleasing  scenes  which  have  left  the  easels  of  our  painters  for  a  long  time."  —  Boston 
Transcript,  October  16,  1867. 

"  Constant  Mayer's  '  Orphan's  Morning  Hymn '  is  invested  with  an  expression  of 
sentiment  which  reflects  the  highest  credit  upon  his  genius.  The  picture  gives  no  evi- 
dence of  sentimentalism,  but  relies  for  its  force  upon  a  simple  story  drawn  from  real 
life,  which,  though  sad,  will  be  studied  with  interest  by  all  lovers  of  art."—  Art  Journal, 
May,  1875. 

"Taken  as  a  whole  the  conception  is  excellent,  the  drawing  is  thoroughly  careful,  the 
accessories  are  painted  with  rare  fidelity,  and  the  color,  although  low  in  tone,  is  so 
thoroughly  pleasing  that  we  should  be  pained  to  see  a  single  '  last  touch '  allowed  to  dis- 
turb the  balance.  Unquestionably  Mr.  Mayer  has  painted  in  '  The  Song  of  the  Shirt '  one 
of  his  very  best  pictures,  and  illustrated  one  of  the  finest  poems  of  the  language  with 
infinitely  greater  faithfulness  than  he  would  have  shown  by  slavish  adherence  to  its 
technicalities."  —  Aldine,  November,  1875. 

Mayer,  Liezen.  (Hungarian.)  Pupil  of  Piloty,  and  a  resident  of 
Munich.  He  paints  scenic  and  melodramatic  subjects.  "  Maria 
Theresa  of  Austria  nursing  the  Poor  Woman's  Child  "  is  one  of  his 
best-known  works.  He  has  made  fifty  illustrations  of  "  Faust,"  the 
cartoons  of  which  were  exhibited  in  London,  and  there  attracted  con- 
siderable attention.  In  Munich  they  received  a  reward,  and  many 
encomiums,  when  first  exhibited.  They  have  been  engraved  and  pub- 
lished in  an  attractive  form. 

Maynard,  George  W.  (Am.)  A  native  of  Washington.  He 
was  a  pupil  of  Edwin  White  in  Florence,  studying  also  in  Home  and 
in  the  Royal  Academy  of  Antwerp.  In  1878  he  had  a  studio  in 
Paris.  He  has  turned  his  attention  largely  to  the  painting  of  por- 
traits.   In  1876  he  sent  to  Philadelphia  "  Vespers  at  Antwerp  "  and 


104      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ic  1776."  To  the  Paris  Exposition  of  1878  he  contributed  a  portrait, 
and  to  the  Society  of  American  Artists  in  New  York,  in  the  same 
year,  "  The  Water-Carriers  of  Venice."  Among  his  later  works  ex- 
hibited in  America  may  be  mentioned  "  Musical  Memories/'  "  Dolce 
far  Niente,"  and  a  "  Venetian  Court."    [A.  N.  A.,  1881.] 

McCord,  G.  Herbert.  (Am.)  Born  in  New  York,  1849.  He 
studied  art  under  Col.  James  Fairman  in  1866,  and  has  spent  his 
professional  life  in  his  native  city  and  Brooklyn,  making  sketching- 
tours  through  New  England,  Canada,  Florida,  and  as  far  west  as  the 
Upper  Mississippi.  He  first  exhibited  at  the  National  Academy 
about  1870,  and  frequently  since  that  time.  He  was  made  a  member 
of  the  Artists'  Fund  Society  in  1877.  Among  his  more  important 
works  are,  "  Sunnyside,"  the  home  of  Washington  Irving,  exhibited 
at  the  Brooklyn  Art  Association,  Philadelphia  Academy  of  Fine  Arts, 
at  the  Palette  Club,  New  York,  in  Chicago,  and  elsewhere  ;  "  The  Cave 
of  the  Winds,  Niagara  "  (belonging  to  Mr.  Jones,  President  of  the 
Board  of  Education,  Brooklyn);  "Twilight  Reverie"  (N.  A.,  1878); 
and  others.    [A.  N.  A.,  1880.] 

"  '  Sunnyside'  is  charming  in  its  lights  and  shadows.  The  house  is  after  the  Dutch 
style,  and  in  its  lovely  hiding-place  concealed  'neatb  the  o'ergrowing  ivy  and  sur- 
rounded by  arching  tree-tops,  it  seems  just  the  spot  of  all  others  which  the  imaginative 
Irving  would  select.  ....  Mr.  McCord's  picture  of  '  Sunnyside '  derives  its  noticeable 
feature  of  vividness  from  the  fact  that  it  was  painted  from  nature.  The  road,  the  trees, 
the  house,  are  all  so  real  that  the  observer  can  but  entertain  a  feeling  akin  to  actual 
entrance  upon  the  grounds."  —  Brooklyn  Union,  June  1,  1876. 

"  The  artist  [Mr.  McCord]  has  succeeded  very  creditably  in  describing  the  repose  of 
the  locality,  and  at  the  same  time  adhering  to  its  literal  character  ['Sleepy  Hollow,' 
Phil.  Acad.,  1877].    It  is  a  picture  worthy  of  notice. "  —  Art  Journal,  June,  1877. 

McEntee,  Jervis,  N.  A.  (Am.)  Born  at  Roundout,  N.  Y.,  1828. 
He  began  the  study  of  art  in  the  city  of  New  York,  in  1850,  under 
F.  E.  Church.  A  few  years  later  he  opened  a  studio  of  his  own,  and 
was  elected  a  full  member  of  the  National  Academy  in  1861.  In 
1869  he  visited  Europe,  spending  some  months  in  the  galleries  of  the 
art  centers  of  the  Continent,  and  making  a  sketching-tour  in  Italy 
and  Switzerland. 

Among  McEntee's  earlier  works  may  be  mentioned,  "  Autumn 
Leaves,"  "  Indian  Summer,"  "  October  in  the  Catskills,"  and  "  The 
Melancholy  Day"  exhibited  at  the  National  Academy  in  1861  (upon 
the  strength  of  which  he  was  elected  Academician).  This  picture 
(purchased  by  the  late  James  A.  Suydam)  was  bequeathed  to  the 
National  Academy.  In  1867  he  sent  to  the  National  Academy, 
"  November  Afternoon,"  "  Virginia  in  1863  "  (belonging  to  Cyrus 
Butler),  and  "The  Last  of  October"  ;  in  1868,  "November  Land- 
scape "  ;  in  1869,  "  The  Melancholy  Days  have  come"  and  "Autumn 
Twilight";  in  1870,  "Venice"  and  "October  Snow";  in  1871, 
"  Scribner's  Mill "  (belonging  to  Robert  Gordon)  and  "  October  After- 
noon in  the  Catskill  Mountains  " ;  in  1874,  "Cape  Ann,"  "  Solitaire," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  105 


MA  Wood  Path"  (belonging  to  Henry  James),  and  "  Dean's  River"  ; 
in  1875,  "Psestum"  (belonging  to  Henry  Holt),  "  Ginevra,"  and 
"Saturday  Afternoon"  ;  in  1876,  "  The  Closing  Year,"  "  An  Autumn 
Idyl,"  and  "A  Song  of  Summer"  ;  in  1877,  "And  the  Year  smiles 
as  it  draws  near  its  Death "  and  "  Winter  in  the  Mountains  "  ;  in 
1878,  "  Over  the  Hills  and  Far  Away."  McEntee  sent  to  the  Paris 
Exposition  of  1867,  "  Autumn  "  (belonging  to  Robert  Hoe)  and  "  The 
Last  of  October."  He  had  several  pictures  in  the  Philadelphia  Exhi- 
bition of  1876,  commended  by  the  judges  for  artistic  excellence  ;  and 
of  his  "  November,"  at  the  Royal  Academy,  London,  in  1872,  the 
London  Times  said  :  — 

"  This  picture  shows,  what  is  so  rare,  an  imaginative  feeling  of  the  subject.  .... 
The  picture  is  too  low  in  tone  and  too  somber  in  sentiment  to  attract  much  attention, 
but  it  deserves,  and  will  reward,  study,  and  it  affixes  a  mark  in  the  memory  to  the  art- 
ist's name." 

His  "  Winter  on  the  Ice  "  belongs  to  J.  W.  Pinchot ;  his  "  Autumn 
Scene,"  to  Henry  G.  DeForest.  His  "  Danger  Signal "  and  "  Novem- 
ber Days  "  were  in  the  collection  of  John  Taylor  Johnston.  To  Paris, 
in  1878,  he  sent  "  Falling  Leaves"  and  "An  Autumn  Idyl." 

"Mr.  McEntee  was  represented  by  'October  Afternoon,'  'November,'  '  The  Woods 
of  Ashokan,'  'Frosty  Morning,'  and  'Late  Autumn.'  These  pictures  are  all  charac- 
terized by  great  sincerity  and  decided  poetic  feeling.  They  evince  a  subdued  yet  intense 
enjoyment  of  those  phases  of  nature  that  are  tinctured  with  melancholy,  and  which  are, 
therefore,  none  the  less  beautiful.  This  artist's  style  is  expressive  and  sensitive,  and 
within  the  scope  of  his  stronger  sympathies,  mature  and  confident.  His  pictures  evince 
a  profound  insight  that  is  intolerant  of  that  Denner-like  portraiture  in  landscape  which 
aims  at  minuteness  of  imitation.  They  possess  qualities  of  excellence  that  in  some  re- 
spects are  not  surpassed  in  this  branch  of  art. "  —  Prof.  Weir's  Official  Report  of  the 
American  Centennial  Exhibition  of  1876. 

"  McEntee  manages  to  give  with  a  few  tints  a  finely  felt  rendering  of  nature  at  a  cer- 
tain season  of  the  year  ['A  Nipping  and  an  Eager  Air,'  water-color,  N.A.,  1877].  — New 
York  Times,  January  22,  1877. 

"  In  this  picture  ['  Autumn,'  N.  A.,  1877],  as  in  others  of  this  class,  the  intensity  of  Mr. 
McEntee's  liking  for  this  phase  of  the  year  leads  him  to  emphasize  his  color  too  much, 
to  give  his  landscapes  tints  which  are  too  freely  drawn  from  his  own  ideas."  —  Art 
Journal,  May,  1877. 

M'Donald,  John  B.  (Brit.)  Born  in  Morayshire,  Scotland,  1829. 
He  entered  the  schools  of  the  Royal  Scottish  Academy  under  Robert 
Scott  Lauder  in  1852,  and  has  since  been  a  resident  of  Edinburgh. 
He  has  exhibited  frequently  at  the  Royal  Scottish  Academy  for  the 
last  quarter  of  a  century  (being  elected  an  Associate  in  1862,  and 
a  full  Member  in  1877)  pictures  in  oil  and  water  colors.  Among 
the  better  known  of  his  works  are,  "  The  Arrest  of  a  Rebel,"  "  In 
Venice,"  "  Landscape  with  Sheep,"  "  Prince  Charlie  leaving  Scot- 
land," "  Dugald  Dalgetty's  Interview  with  Montrose,"  "  In  Hiding," 
"  The  Falls  of  the  Garry,"  etc.  Several  of  his  works  have  been 
engraved. 

"The  large  canvas  'Strathyre'  [R.  S.  A.,  1874],  by  J.  B.  M'Donald,  takes  us  by  sur- 
prise, so  grand  is  it  in  the  sweep  of  hill  and  hollow  beyond  all  his  previous  efforts.  This 
5* 


106     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


noble  work,  albeit  pronounced,  in  certain  circles,  hard  and  deficient  in  atmospheric 
depth,  makes  a  powerful  impression  on  the  mind."  —  Art  Journal,  April,  1874. 

Meade,  Larkin  G.  (Am.)  A  native  of  New  England.  Bom  in 
1835.  He  displayed  artistic  talents  at  an  early  age,  and  through  the 
generosity  of  Mr.  Longworth  of  Cincinnati,  who  was  attracted  by 
his  promising  work,  he  was  enabled  to  devote  himself  to  art  as  a 
profession.  He  was  a  pupil  of  Henry  Kirke  Brown  in  1853,  '54,  and 
'55.  In  1862  he  went  to  Italy,  settling  in  Florence.  Returning  to 
America  at  the  end  of  three  years,  he  exhibited  in  New  York,  "  The 
Returned  Soldier"  (life-size),  "Echo,"  "La  Contadinella,"  "The 
Thought  of  Freedom,"  etc.  Among  the  more  important  of  his  later 
works  are  four  bronze  groups  representing  "  Infantry,"  "  Cavalry," 
"  Artillery,"  and  "  The  Navy,"  of  colossal  proportion,  and  the  statue 
of  Lincoln  for  the  National  Lincoln  Monument,  at  Springfield,  111. 
His  statue  of  Ethan  Allen  is  in  the  National  Art  Gallery,  in  the  Capi- 
tol at  Washington.  His  statue  of  "  Vermont  "  (19  feet  high)  is  upon 
the  dome  of  the  State  House  at  Montpelier,  and  his  "  Columbus  ap- 
pealing to  Isabella  "  (in  marble)  belongs  to  D.  0.  Mills,  President  of 
the  Bank  of  California.  The  greater  part  of  his  professional  life  has 
been  spent  in  Italy. 

"  Mr.  Lincoln  is  represented  as  having  just  signed  the  Proclamation  of  Emancipation, 
and  in  his  left  hand  he  holds  a  scroll  marked  '  Proclamation,'  in  the  right  hand  he  holds 
a  pen.  The  faithfulness  of  the  portrait  in  every  feature  rivets  the  attention  of  the  ob- 
server. The  stooping  shoulders,  the  forward  inclination  of  the  head,  manner  of  wearing 
the  hair,  the  protruding  eyebrows,  the  nose,  the  mouth,  with  the  prominent  and  slightly 
drooping  lower  lip,  the  mole  on  the  left  cheek,  the  eyes,  far  back  in  the  head,  the  calm, 
earnest,  half-sorrowful  expression  of  the  face,  —  all  recall  to  the  minds  of  those  who  knew 
him  well  the  same  Lincoln  who  lived  and  moved  among  us  until  called  to  enter  upon 
his  grand  career."  —  St.  Louis  Globe,  October  4,  1874. 

"The  first  contribution  of  Vermont  to  the  National  Statuary  Hall,  being  a  heroic-sized 
statue  of  Col.  Ethan  Allen  of  Revolutionary  fame,  was  placed  in  the  hall  on  Saturday 
last.  It  is  the  production  of  Larkin  G.  Meade  of  Vermont,  at  present  residing  in  Flor- 
ence, Italy,  where  the  statue  was  made.  The  cost  was  $  10,000.  It  represents  Colonel 
Allen  as  he  appeared  when  demanding  the  surrender  of  Fort  Ticonderoga  '  in  the  name 
of  the  Great  Jehovah  and  the  Continental  Congress.'  The  attitude  of  the  statue  is  very 
spirited,  much  more  so  than  that  of  any  other  in  the  hall."  —  Washington  Evening  Star, 
February  28,  1876. 

Meissonier,  Jean  Louis  Ernest.  (Fr.)  Born  at  Lyons  about 
1813.  Grand  officer  of  the  Legion  of  Honor,  1878.  Member  of  the 
Institute,  1861.  Three  grand  medals  of  honor  and  many  other  medals. 
He  went  when  quite  young  to  Paris,  and  was  for  some  time  a  pupil 
of  Leon  Cogniet.  He  is  the  first  French  miniaturist  of  genre  subjects 
who  has  attained  celebrity.  Perhaps  he  can  receive  no  higher  praise 
than  to  be,  as  he  constantly  is,  compared  to  Terburg  and  Metzu.  He 
has  been  fully  appreciated  from  the  commencement  of  his  career,  and 
receives  honors  and  money  without  stint.  His  works  are  too  numer- 
ous to  allow  of  a  complete  list  here.  He  first  exhibited,  in  1836, 
"  The  Little  Messenger."   In  the  Luxembourg  are  "  Napoleon  III.  at 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  107 


Solferino  "  (45  by  75  centimeters),  on  wood  (1864),  and  "  The  Emperor 
surrounded  by  his  Staff"  (12  by  7),  also  on  wood.  "La  partie  des 
boules  "  (1848)  is  regarded  as  a  dief-d'oeuvre ;  "  A  Fight"  (1855)  was 
purchased  by  the  Emperor  for  25,000  francs,  and  presented  to  the  late 
Prince  Albert ;  the  u  Cavalry  Charge"  (1867)  was  purchased  by  Mr. 
Probasco  of  Cincinnati,  and  it  is  said  that  he  paid  150,000  francs  for 
it  At  the  Johnston  sale,  New  York,  1876,  the  "  Soldiers  at  Cards," 
from  the  Demidoff  Collection  (8  by  10),  painted  in  1860,  sold  for 
$  11,500  ;  and  "  Marshal  Saxe  and  Staff"  (8  by  9),  1866,  for  $  8,600. 
At  the  Latham  sale,  New  York,  1878,  "  The  Amused  Cavalier  "  (7J 
by  5)  sold  for  $  3,100.  In  "  L'Art,"  January,  1876,  there  is  an  article 
devoted  to  his  picture  called  "  1807,"  which  was  purchased  by  the  late 
Mr.  Stewart  of  New  York  for  more  than  300,000  francs.  It  is  said 
that  the  artist  worked  on  it  fifteen  years,  and  as  regards  size  it  is  the 
most  important  of  his  works.  At  the  Salon  of  1877  Meissonier  exhib- 
ited a  portrait  of  Dumas  ;  small  figure,  about  a  foot  in  height,  sitting 
in  a  chair,  with  the  legs  erossed  and  the  hands  folded  on  the  edge  of 
a  table,  which  is  covered  with  books  and  papers.  He  has  executed 
some  illustrations  for  books,  such  as  "  Les  Francais  Peints  par  eux- 
memes,"  "  La  Comedie  Humaine  "  (Balzac),  and,  in  company  with 
FranQais  and  Daubigny,  an  edition  of  "  Paul  and  "Virginia," 

"The  immense  reputation  of  Meissonier  is  justified  by  the  perfection  attained  by  him 
in  the  kind  of  art  he  has  chosen.  Perfection  in  art  of  any  kind  is  so  rare,  that  when  we 
meet  with  it  we  are  sure  to  take  notice  of  it ;  and,  though  Meissonier's  pictures  are  very 
small,  they  are  not  likely  to  be  passed  over  in  the  most  crowded  exhibitions.  The  mere 
fact  of  their  littleness  seems  to  have  helped  their  reputation  by  increasing  the  marvel  of 
the  work ;  but  there  is  nothing  new  or  exceptional  in  this  :  the  engravers  of  book  illustra- 
tions and  the  painters  of  miniatures  have  long  worked  on  a  scale  still  smaller.  What 
really  is  new  and  exceptional  in  Meissonier  is  a  certain  largeness  of  grasp  and  vivacity  of 
accent,  this  vivacity  degenerating  into  excessive  staccato  at  times,  when  staccato  is  not 
wanted.  Meissonier  is  said  to  be  in  the  habit  of  making  studies  the  size  of  life,  in  order 
to  keep  his  breadth  of  treatment.  This,  at  least,  is  a  proof  of  his  firm  belief  in  a  doctrine 
very  generally  received  amongst  artists,  —  that  in  order  to  paint  on  a  small  scale  really 
well,  you  must  be  able  to  paint  on  a  larger.  Meissonier  is  a  master  of  the  male  figure, 
and  has  lately  studied  the  horse  for  his  pictures  of  Solferino  and  the  '  Gampagne  de 
France ' ;  but  he  has  generally  been  careful  to  avoid  women,  —  probably  because  it  is  not 
easy  to  render  a  female  face  with  that  sharp  accentuation  which  has  become  habitual  with 
him.  I  like  him  best  in  such  pictures  as  the  '  Lecture  chez  Diderot,'  where  gentlemen 
of  the  last  century  meet  in  conversation  ;  or  in  such  single  studies  as  the  '  Smoker, ' 
which,  for  subtlety  of  quiet  expression,  is  as  good  as  the  best  faces  of  Rembrandt,  —  as 
good,  for  instance,  as  the  portrait  of  Burgomaster  Six.  Sometimes  the  expression  is 
pushed  rather  far,  and  slightly  verges  on  caricature,  —  as  in  the  picture  of  an  officer  in  the 
last  century  giving  his  orders,  called  '  L'Ordonnance.'  Meissonier  is  not  a  man  of  any 
grandeur  or  sublimity  of  genius,  and  he  has  apparently  no  tenderness,  —  a  defect  he 
shares  with  Ge"rome  ;  but  his  keen  observation,  and  ready,  accurate  hand,  have  made 
him  king  of  his  own  realm  in  art,  and  his  work,  I  suppose,  will  never  diminish  in  money 
value,  because  such  work  must  always  be  excessively  rare. "  —  Hamerton,  Contemporary 
French  Painters, 

"  Meissonier  is,  perhaps,  the  most  popular  artist  of  our  time.  If  he  has  a  picture  at 
the  Salon,  the  crowd  first  ascertain  where  it  is,  and  the  obstruction  is  such  that  it  is  not 


108     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


always  easy  to  approach  it.  When  his  works  make  a  part  of  a  public  sale,  all  who  oc- 
cupy themselves  with  painting  rush  to  the  Hotel  Drouot.  His  reputation  is  European, 
and  volumes  could  be  lilled  with  articles  which  the  reviews  and  journals  have  conse- 
crated to  him.  Edmond  About  has  given  in  resume,  with  his  usual  spirit,  the  causes 
which  have  determined  this  prodigious  success.  '  He  made  his  debut,'  says  he, '  by  some 
microscopic  pictures  ;  one  was  obliged  to  examine  them  when  near  by  ;  it  was  then  only 
that  we  perceived  Meissonier.  The  most  severe  critics,  the  magnifying-glass  in  the 
haud,  acknowledged  that  no  one  drew  better  than  lie,  that  his  figures  were  irreproach- 
able and  his  draperies  perfect ;  that  his  Liliputian  personages  wanted  neither  form,  nor 
dignity,  nor  elegance.  He  painted  true  gentlemen,  as  distinguished  as  Lauzun  and  as 
slight  as  scarabei ;  he  stowed  fifty  French  guards,  very  life-like  and  very  stirring,  on  a 
canvas  where  two  cockchafers  would  be  too  crowded.  He  surmounted  so  successfully 
the  enormous  difficulties  that  he  imposed  on  himself,  that  he  was  soon  at  ease  in  the 
narrowest  frame.'  Meissonier  has  painted,  in  truth,  some  subjects  with  several  figures, 
and  even  some  battles,  but  he  oftener  makes  pictures  with  a  single  figure,  and  he  knows 
how  to  captivate  the  attention  with  scenes  so  simply  conceived  that  a  written  descrip- 
tion could  give  no  idea  of  them,  and  it  is  absolutely  necessary  to  see  them  in  order  to 

understand  their  value  One  quality  which  Meissonier  possesses  in  a  rare  degree  is 

the  research  into  the  intimate  character  of  the  time  in  which  he  makes  his  personages 
move.  It  is  not  a  man  of  to-day  whom  he  clothes  with  the  vestments  of  another  time ; 
there  is  a  perfect  accord  between  the  physiognomy,  the  carriage,  the  costume  of  the  per- 
son represented  and  the  accessories  with  which  he  enriches  his  picture.  Above  all,  he 
never  forgets  the  principal  subject  in  the  decoration,  and  whatever  the  charm  of  the  de- 
tails which  make  a  part  of  the  scene,  it  is  always  the  man  who  plays  the  principal  part, 
and  who  first  attracts  attention.  Meissonier  has  found  many  imitators  among  our 
young  artists,  who  think  to  follow  the  master  in  painting  microscopic  canvases  with  mi- 
nute care  ;  but  he  has  kept  for  himself  the  secret  of  interesting  by  insignificant  subjects, 
and  by  painting  largely  pictures  which  may  be  seen  through  a  glass."  —  Rene  Menard, 
Gazette  des  Beaux-Arts,  April,  1873. 

"  This  eminent  artist  has  employed  in  his  genre  painting  all  the  serious  qualities  of 
grand  painting.  He  is  one  of  the  masters  of  this  day  who  can  count  on  the  future,  whose 
works  have  an  assured  place  in  galleries  among  the  most  celebrated  ones."  —  Theophile 
Gautier,  Gazette  des  Beaux-Arts,  May,  1862. 

"The  little  and  marvelously  elaborated  pictures,  of  which  Meissonier  is  still  the  su- 
preme master  in  France,  were  unknown  as  an  object  to  French  painters  before  Meissonier 
won  so  much  consideration  for  his  successful  efforts  to  represent  Nature,  as  seen  through 
the  small  end  of  a  telescope.  His  aim  was  a  reaction  against  the  dominant  masters  of 
his  time  ;  by  his  indefatigable,  tenacious  talent,  his  microscopic  vision,  he  was  enabled 
to  surpass  the  Dutch  masters  in  everything  but  color.  Every  form  of  excellence  in  art 
appeared  to  have  been  illustrated  in  French  painting  but  that  of  the  Dutch  school : 
great  political  tragedies  in  Delaroche  ;  military  events  in  Vernet ;  the  drama  of  the  pas- 
sions in  Delacroix  ;  classic  art  in  Ingres  ;  the  ideas,  fancy,  imagination,  beauty,  pastoral 
art,  —  all  in  a  style  more  or  less  in  direct  descent  from  the  great  examples  of  Italian  or 
classic  art.  Meissonier,  without  an  idea,  without  a  passion,  without  anything  but  a  won- 
derfully trained  hand,  and  an  uncommon  perception  of  actual  objects,  applied  himself  to 
produce  pictures  that  should  '  flabbergast '  a  public  tired  of  emotions  and  ideas  and  revolts, 
but  interested  in  everything  mechanical  and  laborious  and  obviously  conscientious.  He 
may  be  said  to  be  a  Dutch  painter,  ■plus  the  instruction  of  the  photograph.  He  was  not 
a  pupil  of  l'Ecole  des  Beaux- Arts  ;  and  yet  no  painter  of  the  imperial  school  has  carried 
further  the  science  of  his  art,  and  none  are  better  instructed  in  the  technical  means  to 
reach  the  object  of  his  work.  He  contests  with  Gerome  superiority  in  the  science  of 
representation  of  Nature  on  a  small  scale.  His  pictures  compete  with  Gerome's  at  the 
picture-dealers' ;  their  market-value  is  astounding  ;  and  they  interest  the  mind  like 
clock-work,  like  the  weaving  of  Egyptian  linen,  like  photographs,  like  any  fine  and  suc- 
cessful exhibition  of  the  mechanical  talent  Meissonier  is  an  example  of  a  modern 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  109 


artist  wholly  independent  of  the  actual  life  of  his  time,  —  an  artist  who  has  given  no  place 
to  woman  in  his  works,  no  place  to  the  ideal,  no  place  to  the  disturbing  facts  of  his 
own  epoch.  I  know  of  but  one  picture  in  which  he  represents  a  woman  —  and  that 
woman  is  a  dame  of  the  eighteenth  century  —  and  her  gallant.  Consummate  as  is  the 
executive  talent  of  Meissonier,  he  cannot  be  taken  as  a  type  of  the  artist.  His  aim  is  too 
limited,  his  purpose  too  material.  Absolutely  deficient  in  the  ideal,  absolutely  indifferent 
to  all  the  consecrating  and  charming  and  beautiful  elements  of  Nature  and  life,  he  is  but 
a  consummate  picture-maker,  interested  in  the  most  prosaic  characters  and  showy  cos- 
tumes of  the  direct  epoch  of  modern  civilization.  His  works  are  objects  of  curiosity. 
The  most  stupid  lover  of  pictures  can  use  his  '  glass '  to  magnify  the  minute  merits 
of  Meissonier's  pictures,  and  deepen  his  sense  of  wonder  at  the  laborious  and  skillful 
hand  of  the  artist ;  he  can  observe  his  marvelous  finish,  his  masterly  drawing,  his  bold 
touch,  his  completeness  of  representation,  and  so  have  the  flattering  satisfaction  of  being 
on  a  level  with  the  aim  and  work  of  one  of  the  most  far-famed  of  modern  painters."  — 
Eugene  Benson,  Appletons'  Journal,  September  11,  1869. 

Philippe  Burty,  in  the  "  Gazette  des  Beaux- Arts,"  May,  1862,  speaks 
thus  :  — 

"  The  etchings  of  Meissonier  are  few,  but  the  proofs  of  them  are  singularly  rare.  Save 
the  '  Smoker  •  and  that  which  we  publish  to-day,  and  which  is  unedited  ['  The  Ser- 
geant-Reporter'  ],  there  is  scarcely  a  cabinet  which  offers  them  to  the  curiosity  of 
amateurs.  They  are  engraved  with  an  extremely  fine  point,  one  would  almost  say  with 
the  point  of  a  needle.  But  the  effect  is  large,  because  the  niceness  of  the  detail  loses 
itself  in  the  mass,  and  renders,  with  most  astonishing  skill,  the  appearance  of  every- 
thing, the  epidermis  of  each  object." 

The  following  list  gives  the  titles  of  his  principal  etchings  :  "  The 
Holy  Table"  (or  altar),  "The  Violin,"  "Preparations  for  the  Duel," 
"  Signor  Annibale,"  "  Monsieur  Polichinelle,"  etc.  At  the  Sale 
Wertheimber  in  Paris,  1861,  a  small  panel,  27  by  21  centimeters, 
painted  in  1858,  representing  German  cavalrymen  in  a  large  salon, 
playing  cards,  smoking,  etc.,  brought  28,000  francs,  and  was  purchased 
by  M.  DemidofF.  From  the  description  this  would  appear  to  be  the 
"  Soldiers  at  Cards  "  of  the  Johnston  sale,  but  the  Wertheimber  cat- 
alogue date  of  the  picture  is  1858,  and  the  Johnston  catalogue  date  is 
1860.  At  the  Lehon  sale,  Paris,  1861,  "  The  Painter  at  his  Easel " 
sold  for  11,200  francs.  At  a  London  sale,  in  1872,  "  The  Sentinel," 
an  exquisite  miniature  work,  sold  for  970  guineas.  At  the  Khalil 
Bey  sale,  1868,  "  The  Amateurs  of  Painting"  was  bought  by  M.  Say 
for  £  1,272. 

Meissonier,  Jean  Charles.  (Fr.)  Born  at  Paris.  Medal,  1866. 
Pupil  of  his  father.  At  the  Salon  of  1874  he  exhibited  "  Le  fripier," 
"The  Convent  of  Saint- Barthelemy  at  Nice,"  and  "The  Chaplain 
reading  to  the  Baron  "  ;  in  1866,  "  In  taking  Tea  "  and  "  Leusen  and 
Eosine." 

Melbye,  Antoine.  (Dane.)  Born  at  Copenhagen  (about  1822  - 
1875).  Chevalier  of  the  Legion  of  Honor.  He  studied  under  Eckers- 
berg  at  Diisseldorf,  and,  later,  in  Paris.  His  subjects  are  principally 
marines.  In  1867  he  exhibited,  at  the  Paris  Salon,  two  marine 
views  ;  in  1865,  "  The  Naval  Combat  of  Both  well  on  the  Coast  of 
Scotland"  ;  in  1852,  "Full  Sea";  etc.  At  Berlin,  in  1876,  was  ex- 
hibited his  "  Moonlight  on  the  Bosphorus." 


110     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Me'lingue,  Lucien.  (Fr.)  Born  at  Paris.  Medal  of  first  class, 
1877.  Pupil  of  Cogniet  and  Gerome.  At  the  Salon  of  1877  he  ex- 
hibited "  The  Morning  of  the  10  Thermidor  an  II.,  1794"  and  a  por- 
trait of  the  Commandant  T.;  in  1878,  "  Mademoiselle  de  Montpensier 
at  the  Bastille." 

Mene,  Pierre-Jules.  (Fr.)  Bom  at  Arras.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  E.  Compare.  At  Philadelphia  he  exhib- 
ited "  A  Falconer  on  Horseback  "  and  "  A  Hunter  and  Dogs,"  both  in 
bronze,  and  received  a  medal.  At  the  Salon  of  1878  he  exhibited 
"An  African  Hunter"  (group  in  wax)  and  "Toreador-matador" 
(group  in  bronze).    [Died,  1879,  aged  about  69.] 

Menzel,  Adolf-Frederic-Erdmann.  (Ger.)  Born  at  Breslau, 
1815.  Member  of  the  Academies  of  Berlin,  Vienna,  and  Munich. 
Member  of  the  Royal  Society  of  Water-Color  Artists  of  Belgium. 
Knight  of  the  Order  of  Merit,  of  the  Legion  of  Honor,  and  of  Saint 
Michael  of  Bavaria.  Many  of  the  pictures  of  this  painter  are  scenes 
from  the  life  of  Frederick  the  Great.  At  the  National  Gallery, 
Berlin,  are  "The  Round  Table  of  Frederick,  1750"  and  a  "Flute 
Concert  at  Sans-Souci,"  also  "  Modern  Cyclops."  Menzel  has  also 
illustrated  the  works  of  this  monarch.  His  lithographs  are  quite 
numerous,  and  his  water-colors  are  much  admired.  Six  of  his  pic- 
tures were  exhibited  at  the  Paris  Exposition  of  1878. 

A  writer  in  the  "  Zeitschrift  fur  bildende  Kunst,"  1866,  says  of 
the  picture  of  the  "  Coronation,"  by  Menzel :  — 

"He  is  a  decided  realist ;  his  attempt  is  to  give  the  moment  as  it  really  existed. 
Going  beyond  this,  in  any  measure,  he  despises,  —  so  despises  it,  even,  that  one  cannot 

fail  to  see  his  definite  intention  of  doing  something  unlike  others  Menzel  is, 

judging  from  the  want  of  transparency,  especially  in  shadows,  no  real  colorist.  Al- 
though his  technique  is  masterly,  and  the  costumes  [except  those  of  the  ladies],  the 
mantles  of  those  in  orders,  the  uniforms  with  their  embroideries,  and  all  the  furnishing 
of  the  apartment,  painted  with  boldness  and  largeness,  he  has  not  given  his  thought  to 
artistic  grouping,  or  beauty  of  lines  and  masses.  What,  then,  are  the  merits  of  this 
work,  which  we  have  called  remarkable  from  the  beginning,  if  the  painter  has  ignored 
all  attempt  at  depicting  beauty  ?  Menzel  certainly  will  not  allow  that  art  and  beauty 
have  any  connection  ;  for  him  the  essence  of  art  lies  in  characterization.  This  is  a  very 
one-sided  view,  but  when  it  is  illustrated  in  so  masterly  a  manner  it  demands  respect, 
and  when  such  an  artist  opposes  his  strength  to  us  we  can  only  measure  it  by  itself. 
Menzel  has  given  us  something  remarkable  in  the  way  of  portrait  heads,  but  in  these, 
also,  he  has  fallen  short  as  far  as  the  effect  of  beauty  is  concerned,  especially  in  the 
group  of  ladies,  ....  but  the  masculine  heads  are  all  the  more  true,  excellent,  and 
important." 

"Very  much  above  these  pretentious  works  it  is  proper  to  rank  the  simple  water- 
colors  of  Adolf  Menzel,  an  artist  of  Berlin,  —  known  by  a  series  of  pictures  and  designs 
consecrated  to  Frederick  IT.  The  Exposition  at  Munich  shows  us  a  dozen  charming 
works,  of  a  more  modest  sort,  representing  varied  subjects,  denoting  a  suppleness  of 
talent  and  a  reunion  of  qualities  quite  exceptional.  1  The  Return  of  Troops  to  Berlin 
after  the  War  of  1866 '  was  the  most  studied  of  these  compositions.  In  the  middle, 
through  a  street,  the  conquerors  defile  under  a  shower  of  bouquets  ;  but  in  the  houses 
on  each  side  the  artist  has  grouped  the  contrasts  which  belong  to  such  a  day,  —  at  the 
left  all  is  joy  and  the  intoxication  of  triumph,  while  on  the  right  the  wounded  are  re- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  Ill 


ceived  with  tenderness  and  surrounded  with  careful  attentions  ;  aside,  some  poor  ones, 
dressed  in  mourning,  steal  away  from  the  general  joy  to  weep  for  their  dear  ones  not 
here.  Let  us  also  mention,  as  two  wonders,  the  interiors  of  the  churches  at  Innspruck 
and  Saizbourg,  by  the  same  artist.  Above,  vividly  lighted,  are  white  walls,  pictures, 
and  altars  resplendent  with  gilding  ;  then,  by  insensible  degrees,  the  light  decreases, 
candles  lighted  burn  in  a  mysterious  and  lukewarm  shade,  and  below  are  some  faithful 
ones,  women,  absorbed  in  their  prayers,  with  an  expression  of  silence  and  deep  medita- 
tion. In  place  of  the  heaviness  and  pretentiousness  which,  too  often,  we  have  pointed 
out  in  the  works  of  German  painters,  we  find  here  a  true  artist,  full  of  tact  and  taste, 
of  elegance  and  easy  grace,  and  who  would  worthily  sustain  all  comparisons  with  the 
best  of  our  French  masters.  V  — Emile  Michel,  Revue  des  Deux  Mamies,  December, 
1877. 

Mercade",  Benito.  (Span.)  Born  at  Barcelona.  Medal  at  Paris 
in  1866,  and  at  Philadelphia,  1876,  where  he  exhibited  "  The  Trans- 
lation of  St.  Francis  of  Assisi,"  which  was  also  at  Paris  in  1866. 
Pupil  of  the  School  of  Fine  Arts  at  Madrid.  In  the  Official  Report 
of  the  Judges  of  the  Philadelphia  Exhibition,  John  F.  Weir  says  of 
this  picture  :  — 

"  The  subject  is  treated  with  great  purity  of  feeling,  and,  indeed,  solemnity.  The  ex- 
pression of  the  heads  is  very  fine,  and  the  composition  simple  and  impressive.  The 
picture  is  cold  and  monotonous  in  color,  but  in  the  sincerity  of  its  aim  it  is  admirable." 

Mercie\  Marius-Jean-Antoine.  (Fr.)  Born  at  Toulouse.  Chev- 
alier of  the  Legion  of  Honor,  1872.  Medal  of  Honor,  1874.  Pupil 
of  JoufFroy  and  Falguiere.  At  the  Salon  of  1877  he  exhibited  a  plas- 
ter relief  of  "  The  Genius  of  the  Arts  "  (intended  for  the  grand  en- 
trance of  the  Louvre)  and  a  marble  statuette  of  a  "  Vanquished  J uno," 
which  was  much  praised  by  Ch.  Timbal  in  the  "  Gazette  des  Beaux- 
Arts";  in  1876,  a  marble  statuette  of  "  David  before  the  Combat "  and 
a  bust  called  "  Flowers  of  May  ";  in  1875,  "  Gloria  Victis  !  "  group  in 
bronze,  and  a  bas-relief  from  La  Fontaine.  At  the  Luxembourg  is  his 
" David"  (1872),  a  statue  in  bronze. 

Merle,  Hugues.  (Fr.)  Born  at  Saint-Marcellin.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  L.  Cogniet.  At  the  Salon  of  1876 
he  exhibited  "  Day  and  Night "  (a  fragment  of  a  decoration)  and 
"II  Bambino";  in  1874,  "Pernettethe  Spinner"  (a  legend  of  Dau- 
phiny)  and  a  "  Little  Bohemian  Girl";  in  1873,  "  The  Right  Road  " 
and  "A  Mad  Woman  "  (now  in  the  collection  of  Mrs.  H.  E.  Maynard 
of  Boston).  At  the  Salon  of  1878  he  exhibited  "  Odette  and  Charles 
VI."  and  "  Charlotte  Corday."  His  picture  of  "  The  Beggar  "  (1861) 
is  in  the  Luxembourg.  His  "  Asking  Alms  "  is  in  the  collection  of 
Jeremiah  Milbank,  New  York.  "The  Young  Christian,"  sold  in 
London  for  £  332,  is  now  in  the  Belmont  Gallery,  New  York.  In  the 
Walters  Gallery,  Baltimore,  are  two  small  pictures  by  Merle,  "A  Girl 
with  a  Child  in  her  Arms  "  and  a  "  Group  of  a  Mother  and  her  Chil- 
dren." The  latter  is  an  excellent  example  of  this  artist's  work. 
"  The  Scarlet  Letter  "  is  also  in  the  same  collection.  At  a  sale  at 
Christie's  in  1874,  were  sold  "The  Mendicant  during  the  Siege  of 
Paris"  and  "Watching  the  Crab";  the  latter  brought  190  guineas. 


112     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


At  the  Johnston  sale,  New  York,  1876,  "  Chasing  the  Butterfly  "  (18 
by  15)  sold  for  $  1,615.     [Died,  1881  ;  aged  58.] 

"  [French  Gallery,  Pall  Mall,  No.  164,  '  Hagar  and  Ishmael.']  H.  Merle  presents  a 
most  interesting  version  of  the  subject.  The  figure  of  Hagar  is  admirably  cast,  and  is 
distinctly  of  the  Egyptian  type  ;  the  angry  expression  of  her  features  is  her  reply  to  the 
mockery  of  Sarah.  But  the  difference  between  Hagar  and  Ishmael  is  remarkable,  the 
l>ose  and  action  of  the  boy  being  both  open  to  improvement ;  and  we  think  that  if  the 
artist  reconsiders  the  subject,  he  will  arrive  at  the  conclusion  that  the  removal  of  Abra- 
ham from  the  background  would  be  advantageous."  —  Art  Journal,  May,  1873. 

"  Merle  shows  to  more  advantage  this  year  at  the  Salon  than  he  has  dune  for  some 
seasons  past ;  his  '  Charlotte  Corday,'  in  particular,  being  a  striking  and  expressive 
work.  ....  Painted  with  Merle's  peculiar  grace  and  tender  charm,  this  fine  picture 
daily  attracts  a  crowd  of  gazers.  It  goes  to  America,  having  been  purchased  by  Mr. 
"William  Schaus,  the  well-known  dealer."  —  Art  Journal,  August,  1878. 

Merle,  Georges.  (Fr.)  Born  at  Paris.  Son  and  pupil  of  Hugues 
Merle.  He  sent  to  the  Salon  of  1878,  "  The  Death  of  Philip  Arte- 
velde  at  the  Battle  of  Roosebeke,  November  27,  1382 "  ;  in  1877, 
"Faust  and  the  Three  Braves";  in  1876,  "Le  Pas  d' Amies  del'Arbre 
d'Or." . 

Merson,  Luc-Olivier.  (Fr.)  Born  at  Paris.  Medals  at  Salons 
of  1869  and  '73.  His  subjects  are  generally  historical-religious,  such 
as  "  St.  Louis,  on  coming  to  the  Throne,  opens  the  Jails  of  the  King- 
dom "  and  "  St.  Louis,  in  spite  of  the  Supplications  of  the  Barons, 
condemns  the  old  Enguerrand  de  Coucy,  1259,"  both  painted  for 
the  Gallery  of  Saint  Louis  at  the  Palace  of  Justice.  At  the  Salon 
in  1875  he  exhibited  "The  Sacrifice  for  the  Country"  and  "St. 
Michael  "  ;  in  1872,  "  St.  Edmond,  King  and  Martyr"  ;  and  in  1878, 
"  The  Wolf  of  Agubbio." 

Meryon,  Charles.  (Fr.)  Born  at  Paris  (1821-1868).  Early 
in  life  he  was  a  marine,  and  in  New  Caledonia,  which  he  visited,  he 
made  many  very  interesting  sketches  of  that  country,  then  so  little 
known  ;  later,  he  made  engravings  from  these  designs.  On  his  return 
to  France,  Meryon  devoted  himself  to  engraving,  studied  under  Blery, 
and  became  the  best  etcher  of  his  day.  In  spite  of  his  excellence  he 
never  felt  himself  appreciated,  and  he  fell  into  a  misanthropy  which 
at  length  rendered  him  insane.  He  was  taken  to  Charenton,  where 
he  slowly  died.  He  wished  for  no  friends  or  sympathy,  and  refused 
to  eat.  His  etchings,  especially  those  of  the  old  parts  of  Paris,  were 
exquisite.  Among  those  which  are  highly  esteemed  are,  "  The  Ex- 
change Bridge,"  "The  Old  Morgue,"  "The  Little  Bridge,"  "The 
Apse  of  Notre  Dame  of  Paris,"  "  The  Turret  of  Rue  Tixeranderie," 
"  The  Turret  of  the  Rue  de  l'Ecole  de  Medicine,"  "  The  New  Bridge," 
and  the  "  Rue  de  la  Pirouette."  It  is  much  to  be  lamented  that  in 
a  fit  of  madness  Meryon  destroyed  some  of  his  finest  works,  among 
which  were  etchings  of  "  The  College  of  Henry  IV.  at  Paris." 

Mesdag,  Hendrik  -  Willem.  (Dutch.)  Born  at  Groningen. 
Medal  in  Paris  and  at  Philadelphia,  where  he  exhibited  "  Evening  on 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  113 


the  Beach."  He  is  a  pupil  of  Alma-Tadema.  At  Paris  in  1877  he 
exhibited  "  Summer  Evening  "  and  "  Twilight  "  ;  in  1876,  two  pic- 
tures, the  "  Departure  and  Return  of  a  Life-Boat  at  Scheveningen  "  ; 
at  the  London  Royal  Academy  in  1872,  "  A  Fishing-Smack  "  ;  and  in 
1871,  "A  Fleet  of  Fishing-Boats  at  Scheveningen."  To  the  Paris 
Salon  of  1878  he  contributed  "  Ready  to  weigh  Anchor,  Schevenin- 
gen," and  "  The  Scheldt,  —  Morning,"  and  to  the  Exposition,  same 
year,  three  of  his  works  above  named. 

Meyer,  Ernest.  (Dane.)  Born  at  Altona  (1796  -  1860).  Mem- 
ber of  the  Academy  of  Copenhagen,  at  which  place  he  studied.  In 
1824  he  went  to  Italy  ;  he  passed  some  time  in  Naples  and  Amalfi,  and 
settled  at  Rome,  where  he  died.  At  the  National  Gallery  at  Berlin  is 
his  "  Family  of  Lazzaroni." 

Meyer,  Jean-Louis-Henri.  (Dutch.)  Born  at  Amsterdam  (1809- 
1866).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Jean  Pienemann. 
He  essayed  genre  and  historical  subjects  before  he  confined  himself  to 
marine  pictures,  as  he  did  at  length.  He  lived  much  in  Paris,  and 
sent  his  works  to  many  Salons  and  to  the  Exposition  of  1855.  In 
1867  several  pictures  were  exhibited,  which  were  in  his  studio 
when  he  died.  His  "  Shipwreck  of  William  I."  is  in  the  Museum  at 
Haarlem. 

Meyer,  Johann  Georg,  called  Meyer  von  Bremen.  (Ger.)  Born 
at  Bremen  about  1813.  Member  of  the  Amsterdam  Academy.  Medals 
at  Berlin  and  Philadelphia.  Pupil  of  the  Dusseldorf  school.  He  at 
first  essayed  historical  and  religious  subjects,  but  afterwards  devoted 
himself  to  the  genre  subjects  which  have  made  him  popular  in 
Europe  and  America.  He  had,  some  time  ago,  executed  more  than 
nine  hundred  pictures  in  oils  and  water-colors.  At  the  National 
Gallery,  Berlin,  is  his  "  Little  Housewife."  At  the  Johnston  sale, 
New  York,  1876,  "The  New  Sister"  (19  by  15)  sold  for  $3,700. 
Almost  all  his  pictures  represent  children,  so  that  in  Germany  he  has 
been  called  "  Kinder-Meyer."  The  pictures  of  this  artist  are  so  well 
known,  and  their  place  is  so  well  established,  that  nothing  need  be 
said  of  them.  They  seem  to  belong  to  each  person  who  has  looked  at 
them,  because  they  appeal  to  all  hearts  and  fix  themselves  in  all  mem- 
ories. At  the  Latham  sale,  New  York,  1878,  "  What  has  Mother 
brought?"  (20  by  16)  sold  for  $4,050.  His  "Water-Girl"  is  in 
the  collection  of  Mrs.  H.  E.  Maynard  of  Boston.  Theron  R.  Butler 
of  New  York  owns  his  "  Little  Coquette,"  "  Leaving  Home,"  "  Medi- 
tation," and  "  Prayer,"  and  several  very  fine  specimens  of  his  work 
were  in  the  collection  of  the  late  Alvin  Adams  of  Watertown,  Mass. 

Meyerheim,  Frederic-Eduard.  (Ger.)  Born  at  Dantzic,  1808. 
Member  of  the  Academies  of  Munich,  Dresden,  and  Berlin,  and 
Professor  at  the  last.  Medal  at  Paris  in  1855.  Pupil  of  his  father 
and  the  Academy  of  Berlin.  He  joined  some  young  artists  in  opposi- 
tion to  the  Academy,  and  was  obliged  to  support  himself  by  making 


114     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lithographs.  In  1834  he  exhibited  the  "Blind  Beggar,"  which  imme- 
diately placed  him  in  the  first  rank  as  a  genre  painter.  At  the  National 
Gallery,  Berlin,  is  his  "King  of  the  Shooting-Match."    [Died,  1879.] 

Meyerheim,  Paul  Friedrich.  (Ger.)  Born  at  Berlin (1842-1880). 
Member  of  the  Academy  of  Berlin  and  of  the  Belgian  Water-Color 
Society.  Medals  at  Berlin  and  Paris.  Genre  painter.  Pupil  of  his 
father,  E.  M.  Meyerheim.  Traveled  in  Belgium  and  Holland,  and 
remained  a  year  in  Paris.  He  is  a  skillful  water-colorist  and  lithog- 
rapher. In  the  National  Gallery  at  Berlin  is  his  "  Antiquary  in  the 
Market- Place  at  Amsterdam."  At  Berlin  in  1876  he  exhibited  "  Two 
Portraits/'  "  A  Landscape  with  Cows,"  and  a  "  Harvest  Scene." 

Meynier,  Charles.  (Fr.)  Born  at  Paris  (1768  -  1832).  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Vincent.  Meynier  took  the  grand 
prix  de  Rome  in  1789.  His  picture  of  the  "  Entry  of  the  French  into 
Berlin  "  is  at  Versailles.  "  The  Infant  (Edipus  presented  to  Peri- 
bcea  "  is  in  the  Louvre.  This  artist  decorated  the  ceiling  of  the  stair- 
case leading  to  the  Museum  of  Painting,  and  that  of  the  anteroom 
to  the  Great  Exhibition  Hall  at  the  Louvre. 

Meynier,  Jules  Joseph.  (Fr.)  Born  at  Paris.  Medals  in  1867 
and  '77.  Pupil  of  Delaroche,  Gleyre,  and  Bridoux.  At  the  Salon  of 
1877  he  exhibited  "  Chrysante  and  Daria  "  ;  at  that  of  1867,  "  The 
First  Christians  in  Prayer  at  the  Entrance  to  a  Crypt "  ;  and  in  1878, 
"  Venus  chastising  Love  "  and  some  portraits  of  children. 

Michel,  Ernest-Barthelemy.  (Fr.)  Born  at  Montpellier,  where 
his  studio  now  is.  Pupil  of  Picot  and  Cabanel.  He  won  the  prix  de 
Rome  in  1860  and  a  medal  in  1870.  To  the  Salon  of  1876  he  sent 
"  Lisa  the  Bohemian  "  and  "  The  Doves  "  ;  in  1875,  "  Fortune  and  the 
Child,"  "  Young  Girl  in  the  Fields,"  and  "  Boman  Peasants  on  the 
Steps  of  a  Convent  "  ;  in  1873,  "  La  Pescivendola."  To  Philadelphia, 
in  1876,  he  sent  "Decameron"  ;  to  the  Paris  Exposition  of  1878, 
"  The  Charity  of  St.  Martin "  (belonging  to  the  church  of  Saint- 
Nicolas-des-Champs,  Paris)  and  "  Daphne." 

Miglioretti,  Pascal.  (Ital.)  Born  at  Milan.  Medal  at  Paris  in 
1855.  Pupil  of  the  Academy  of  Milan,  in  which  city  he  is  known 
by  various  religious  sculptures  and  monumental  decorations.  He  ex- 
hibited at  Paris  "The  Dying  Abel"  (1855)  ;  and  in  1867,  "Char- 
lotte Corday,"  "  Neapolitan  Piccirello,"  and  "  The  First  Grief." 

Mignot,  Louis  R.,  N.  A.  (Am.)  Born  in  South  Carolina  (1831 
-1871).  Spent  some  years  in  study  in  Holland.  A  landscape- 
painter  of  much  promise,  fond  of  tropical  and  semi-tropical  scenes. 
He  lived  in  New  York,  and  was  made  a  member  of  the  National 
Academy  in  1859.  Upon  the  secession  of  his  native  State  from  the 
Federal  Union  in  1861  he  removed  to  London,  where  the  rest  of  his 
life  was  spent.  Among  his  earlier  works  painted  in  this  country  are 
his  "  Twilight  in  the  Tropics,"  "  Southern  Harvest  "  (belonging  to 
R.  L.  Stuart),  "  Tropical  Scenery  "  (belonging  to  M.  0.  Roberts),  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  115 


"  Source  of  the  Susquehanna  "  (in  the  Wright  Collection,  belonging 
originally  to  H.  W.  Derby,  exhibited  in  the  Paris  Exposition  of  1867, 
and  in  the  National  Academy  of  New  York  the  following  winter). 
He  first  exhibited  at  the  Royal  Academy,  in  1863,  "  Lagoon  of  Guaya- 
quil, South  America"  and  "A  Winter  Morning"  ;  in  1865,  "Evening 
in  the  Tropics  "  ;  in  1866,  "  Under  the  Equator  "  ;  in  1867,  "  Tin- 
tern";  in  1870,  "Sunset  off  Hastings";  in  1871,  "Mount  Chim- 
borazo."  His  collected  works  were  exhibited  in  London  after  his 
death,  and  attracted  considerable  attention. 

"  At  home  and  abroad  Mignot's  best  landscapes  have  won  admiration.  He  is  a  mas- 
ter of  color,  and  some  of  his  atmospheric  experiments  are  wonderful.  Compare  one  of 
his  winter  with  one  of  his  tropical  scenes,  and  the  absolute  truth  of  his  manner  and 
method  becomes  impressive."  —  Tuckerman's  Book  of  the  Artists. 

Millais,  John  Everett,  R.  A.  (Brit.)  Born  in  Southampton, 
1829.  Spent  his  early  years  in  France,  and  among  the  Channel  Isl- 
ands. Received  a  medal  from  the  Society  of  Arts  in  1838,  when  only 
nine  years  of  age.  He  entered  the  Royal  Academy  two  years  later, 
gaining  two  silver  medals.  Exhibited  his  first  picture  in  the  Royal 
Academy,  in  1846,  "  Pizarro  seizing  the  Inca  of  Peru  "  ;  in  1847  he 
received  the  gold  medal  for  an  historical  painting,  "  The  Tribe  of  Ben- 
jamin seizing  the  Daughters  of  Shiloh"  ;  in  1850  he  exhibited  "  Christ 
in  the  House  of  his  Parents,"  and  his  famous  "  Huguenot  Lovers  "  in 
1852  ;  in  1853,  when  he  was  elected  Associate  of  the  Royal  Acad- 
emy, he  sent  "  The  Order  of  Release  "  and  "  The  Proscribed  Royal- 
ist" ;  in  1855,  "  The  Rescue  "  ;  in  1856,  "  Autumn  Leaves"  ;  in  1860, 
"  The  Black  Brunswicker  "  ;  in  1862,  "  The  Ransom  "  and  "  Trust 
Me"  ;  in  1863,  "  My  First  Sermon,"  "  The  Wolfs  Den,"  and  "  The 
Eve  of  St.  Agnes."  He  was  made  Academician  in  1864,  contributing 
"  My  Second  Sermon,"  "  Charlie  is  my  Darling,"  and  others  ;  in  1865, 
he  sent  "  Joan  of  Arc,"  "  Esther,"  and  "  The  Romans  leaving  Brit- 
ain "  ;  in  1867,  "  The  Minuet,"  "  Sleeping,"  and  "  Waking"  ;  in  1868, 
he  sent  his  diploma  work,  "  A  Souvenir  of  Velasquez,"  "  Pilgrims  to 
St.  Paul's,"  and  "  Rosalind  and  Celia  "  ;  in  1869,  "  The  Gambler's 
Wife,"  "  The  End  of  .the  Chapter,"  and  several  portraits  ;  in  ]  870, 
"  The  Knight-Errant,"  "  The  Boyhood  of  Raleigh,"  and  "  The  Wid- 
ow's Mite  "  ;  in  1871,  "  Chill  October  "  and  "  Yes  or  No  1 "  ;  in  1872, 
"  Flowing  to  the  River,"  "  Flowing  to  the  Sea,"  and  "  Hearts  are 
Trumps"  ;  in  1873,  "  Early  Days  "and  "  New-Laid  Eggs"  ;  in  1874, 
"  Winter  Fuel,"  "  The  Northwest  Passage,"  "  The  Picture  of  Health," 
and  "  A  Day's  Dream"  ;  in  1875,  "  The  Fringe  of  the  Moor,"  "  The 
Crown  of  Love,"  and  "  No  !  "  ;  in  1876,  "  Forbidden  Fruits,"  "  Getting 
Better,"  "  Over  the  Hills  and  Far  Away,"  and  many  portraits  ;  in 
1877,  "  A  Yeoman  of  the  Guard,"  "  The  Sound  of  many  Waters," 
and  "  Yes  !  "  ;  in  1878,  "  The  Princes  in  the  Tower,"  "  A  Jersey  Lily," 
and  a  portrait  of  the  Earl  of  Shaftesbury.  His  "  Efne  Deans,"  engraved 
by  Oldham  Barlow,  A.  R.  A.,  was  exhibited  in  1877,  at  a  private  gal- 


116     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lery  in  London,  for  the  benefit  of  the  Artists'  General  Benevolent 
Institution,  of  which  Mr.  Millais  is  the  Honorary  Secretary.  Many 
of  his  works  have  been  engraved.  He  is  considered  the  leading  por- 
trait-painter to-day  in  England,  receiving,  it  is  said,  two  thousand 
guineas  for  a  single  full-length  likeness.  With  James  Collinson, 
D.  G.  Rossetti,  Holman  Hunt,  and  a  few  more  (in  1850  or  earlier),  he 
founded  an  association  called  "  The  Brotherhood  of  the  Pre-Raphael- 
ites, "  which  was  the  introduction  of  what  is  now  known  as  the  "  Pre- 
Raphaelite  School  of  Painting  "  in  England,  whose  principal  theory 
of  action,  according  to  Fairholt,  is  a  rigid  adherence  to  natural  forms 
and  effects  in  contradistinction  to  the  style  of  rendering  of  any  par- 
ticular school  of  art.  One  of  the  earliest,  and  perhaps  the  most  marked 
of  Mr.  Millais'  pre-Raphaelite  pictures,  was  "  The  Child  Jesus  in  the 
Workshop  of  Joseph  the  Carpenter,"  painted  in  1850,  wonderful  in  its 
naturalism  and  attention  to  the  minutest  details.  He  exhibits  at  the 
Grosvenor  Gallery.  His  "  Early  Days  "  was  at  Philadelphia  in  1876  ; 
"  Chill  October  "  and  "  Hearts  are  Trumps,"  at  Paris  in  1878.  Mr. 
Marsden  bought  his  "  Bride  of  Lammermoor,"  the  same  year,  for 
£  3,000. 

"  In  1871  Millais  electrified  once  more  the  art-loving  public  by  the  insurpassable  truth 
of  his  «  Chill  October,'  a  landscape  picture,  the  exquisite  subdued  tone  of  which  is  one 
great  element  of  its  strength."  —  Mrs.  Tytler's  Modern  Painters. 

"The  critics  will  differ  as  to  the  qualities  of  each  composition,  but  no  single  individ- 
ual will  venture  to  question  the  genius  and  consummate  ability  of  the  artist.  Mr.  Mil- 
lais is  one  of  the  most  powerful  painters  enrolled  in  the  list  of  Academicians. "  —  Art 
Journal,  June,  1875. 

"  Millais  has  placed  himself  at  the  head  of  the  living  portrait-painters  of  Great  Brit- 
ain As  a  colorist,  it  is  difficult  to  see  why  he  should  not  be  assigned  to  a  place 

among  the  foremost  that  Great  Britain  has  produced."  —  Benjamin's  Contemporary  Art 
in  Europe. 

"  It  is  simply  impossible  to  render  adequate  justice  to  this  masterpiece  of  natural 
representation  ['  Over  the  Hills  and  Far  Away '].  It  is  a  very  splendid  illustration  of 
the  author's  extraordinary  genius,  exhibiting  consummate  draughtsmanship,  marvelous 
power  of  coloring,  and  vivid  truthfulness  of  execution."  —  Art  Journal,  July,  1876. 

' '  Very  many  of  Millais'  drawings  on  wood  have  all  of  the  qualities  of  good  etchings 
which  the  difference  of  the  two  processes  will  permit.  His  manner  of  sketching  is  an 
excellent  manner  for  an  etcher.  It  is  delicate  without  over-minuteness,  and  it  is  rapid 
and  free  without  neglecting  anything  essential. "  —  Hamerton's  Etching  and  Etchers,  1876. 

Miller,  Alfred  J.  (Am.)  Born  in  Baltimore  (1810-1874).  His 
first  lessons  in  art  were  received  from  Thomas  Sully.  After  painting 
with  success  in  Baltimore  and  Washington  he  went  to  Europe  in 
1833,  studying  in  Paris,  Rome,  and  Florence,  and  living  on  intimate 
terms  with  Thorwaldsen,  Greenough,  Gibson,  and  Vernet.  He  was 
also  a  fellow-traveler  with  Brantz  Mayer  and  N.  P.  Willis.  His  works 
in  Europe  were  chiefly  copies  of  the  old  masters,  but  they  were  con- 
sidered of  great  excellence.  At  New  Orleans  in  1837  he  met  Sir 
William  Drummond  Stewart,  a  Scottish  Baronet,  with  whom  he 
visited  the  Rocky  Mountains,  making  a  series  t>f  sketches  of  scenes 
and  incidents  of  the  trip  which  were  the  groundwork  of  the  very 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  117 


interesting  gallery  of  Indian  pictures  now  at  Murthley  Castle,  the 
seat  of  Sir  W.  D.  Stewart,  and  probably  the  most  valuable  collection 
of  paintings  relating  to  aboriginal  American  life  extant.  He  spent 
the  winter  of  1841  at  Taymouth,  the  guest  of  the  Duke  of  Breadal- 
bane  in  the  Highlands  of  Scotland,  painting  several  family  portraits. 
Returning  to  Baltimore,  he  practiced  his  profession  there  until  his 
death.  In  portraiture  he  followed  the  school  of  Lawrence.  For 
W.  T.  Walters  of  Baltimore  he  reproduced  in  water- colors  (accom- 
panied by  his  private  journal  of  the  Rocky  Mountain  expedition)  the 
pictures  he  had  painted  for  Stewart.  His  works  are  in  many  of  the 
important  collections  of  this  country. 

Miller,  Charles  H.,  N.  A.  (Am.)  Born  in  New  York,  1842. 
Studied  medicine,  and  graduated  in  1863.  During  his  medical  course 
he  painted  occasional  pictures,  and  first  exhibited  at  the  National 
Academy,  in  1860,  "  The  Challenge  Accepted."  In  1864  he  went  to 
Europe,  and  again  in  1867,  visiting  the  art  centers,  and  finally  settling 
in  Munich,  where  he  remained  three  years,  and  became  a  student  of 
Professor  Lier  and  of  the  Bavarian  Royal  Academy.  He  made  fre- 
quent excursions  to  Dresden,  Vienna,  and  Berlin.  He  exhibited  at  the 
National  Academy,  New  York,  in  1869,  "Near  Munich,  Bavaria"  ; 
in  1870,  "Old  Mill  near  Munich"  and  "Roadside  near  Munich"  ; 
in  1871,  "Sunset"  and  "Twilight  at  Duchau  near  Munich";  in 
1872,  "Old  Mill,  Springfield"  and  "Old  Bridge,  Munich  " ;  in  1874, 
"  Old  Oaks  at  Creedmoor,  Long  Island  "  ;  in  1875,  "  Sheep-Washing 
on  Long  Island  "  and  "  High  Bridge  from  Harlem  Lane,  New  York  "  ; 
in  1876,  "  Bush  -Burning  on  Long  Island  "  and  "  New  York  from 
Newton  Creek"  ;  in  1877,  "On  the  Road  to  Market,  Long  Island" 
and  "Autumn"  ;  in  1878,  "Sunset,  East  Hampton,  Long  Island." 

He  was  elected  an  Associate  of  the  National  Academy  in  1873  or 
'74,  and  Academician  in  1875.  Miller's  "  Sunset  at  Queen's,  New 
York  "  belongs  to  Robert  Gordon  ;  his  "  Road  to  the  Mill,"  to  John 
L.  Melcher.  His  "  Oaks  at  Creedmoor,  Long  Island  "  was  at  the 
Paris  Exposition  of  1878. 

"  Mr.  Miller  contributed  his  '  Returning  to  the  Fold,'  '  The  Road  to  the  Mill,'  and 
'  High  Bridge,  New  York,'  all  of  which  show  decided  merit  with  a  strong  foreign  accen- 
tuation. "  —  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of  1876. 

"  Miller's  '  Long  Island  Landscape  '  is  an  admirable  little  picture,  full  of  vigor,  but 
the  upper  clouds  look  too  heavy.  A  dark  landscape  covered  by  a  dark  sky  which  is 
bright  towards  the  horizon."  —  New  York  Times,  April  8,  1877. 

Millet,  Jean-Francois.  (Fr.)  Born  at  Greville  (1814-1875). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Delaroche.  This  artist 
was  one  of  nine  children.  His  father  had  no  means  to  spare  for  his 
education  ;  his  grandmother,  and  an  uncle,  who  was  a  priest,  taught 
him  as  well  as  they  could.  Very  early  his  vocation  for  painting 
declared  itself,  and  in  1834  he  went  to  study  with  Langlois  at  Cher- 
bourg. His  progress  was  so  remarkable  that  the  municipal  council  of 
Cherbourg  gave  him  a  small  pension  in  order  that  he  might  go  to 


118     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Paris.  In  1837  he  became  the  pupil  of  Delaroche  ;  and  soon  the 
friend  of  Corot,  Theodore  Rousseau,  Dupre,  and  Diaz.  He  was  often 
hungry  and  cold,  for  his  pension  was  very  small  ;  but  he  had  the 
health  of  a  Normandy  peasant,  as  he  often  called  himself,  and  he 
was  always  courageous  and  hopeful.  For  a  time  he  hesitated  between 
historical  and  genre  painting,  but  at  length  fixed  upon  representations 
of  pastoral  life,  that  which  he  knew  so  well,  and  with  which  he  was 
in  sympathetic  accord.  In  1853  he  exhibited  at  the  Salon,  "  The 
Reapers,"  "A  Shepherd,"  and  "The  Sheep-Shearers,"  and  received  his 
first  medal ;  in  1855,  "A  Peasant  grafting  a  Tree  "  ;  in  1857,  "The 
Gleaners,"  which  became  famous.  After  this  time  there  was  much 
discussion  over  his  works.  "The  Woman  grazing  her  Cow"  (1859), 
"  The  Shepherdess  with  her  Flock  "  and  "  Peasants  bearing  Home  a 
Calf  born  in  the  Field"  (1864),  and  the  "Knitting-Lesson"  (1869), 
were  bitterly  criticised  on  the  one  hand,  and  passionately  praised  on 
the  other.  In  1870  he  sent  works  to  the  Salons  for  the  last  time  : 
"  November  "  and  "  A  Woman  churning  Butter."  In  the  Luxem- 
bourg are,  "  The  Church  at  Greville  "  (for  which  12,200  francs  was  paid 
after  Millet's  death),  "  The  Bathers,"  and  a  number  of  designs  or  stud- 
ies in  pencil,  crayon,  and  pen  drawing.  Among  his  works  we  would 
also  mention,  "  A  Bit  of  the  Village  of  Greville,"  sold  at  the  Faure 
sale  in  1873  for  20,300  francs ;  "A  Woman  with  a  Lamp"  at  the  Laurent- 
Richard  sale,  38,500  francs;  "  The  Evening  Angelus  "  ;  "  The  Potato- 
Gathering"  ;  "  The  Mother  cradling  her  Child";  etc.  In  the  "Har- 
vest of  Beans,"  Millet  introduced  the  portrait  of  his  mother,  and  the 
cottage  in  which  he  was  born.  This  artist  executed  only  about  eighty 
pictures.  When  we  consider  that  he  painted  thirty-one  years  this  is  not 
a  large  number.  He  gave  much  thought  to  his  subjects  ;  he  retained 
his  canvases  in  his  studio,  and  returned  to  them  from  time  to  time,  in 
order  to  give  to  them  exactly  the  sentiment  he  wished  them  to  express. 
Millet  was  in  one  way  extremely  remarkable,  we  might  almost  say 
unique  ;  he  never  painted  from  a  model.  What  acuteness  of  observa- 
tion was  required  in  order  to  reproduce  from  memory,  as  he  did,  not 
only  the  characteristics  of  attitude  and  aspect  in  his  figures,  but  the 
details  of  his  landscapes  !  He  left,  besides  his  pictures,  numerous  de- 
signs and  studies  in  different  modes  of  execution.  After  his  death 
all  that  were  in  his  studio  (many  unfinished)  were  sold  at  the  Hotel 
Drouot ;  they  numbered  fifty-six,  and  brought  321,034  francs.  M. 
Gavet  had  a  collection  of  designs  by  Millet,  numbering  ninety-five, 
which  were  also  sold  at  the  Hotel  Drouot,  a  short  time  after  the  sale 
above  mentioned.  Previously,  however,  M.  Gavet  had  generously 
placed  half  his  collection  on  exhibition  for  one  month,  for  the  benefit  of 
the  family  of  the  artist.  The  sale  brought  431,050  francs;  there  were  not 
more  than  twenty  purchasers,  and  but  one  who  was  not  French.  Mil- 
let had  also  executed  quite  a  number  of  etchings  and  a  few  wood-engrav- 
ings.  The  following  plates  have  been  made  by  others  from  his  works: 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  119 


"The  Angelus,"  engraved  by  Waltner  ;  "  Death  and  the  Wood-Cutter," 
"  (Edipus,"  and  the  "  Harvest  of  Beans,"  by  Edmond  Hedouin.  "  The 
Eustic  Labors"  and  "Les  quatre  heures  du  jour"  (fourteen  pieces) 
have  been  copied  in  wood-cuts  by  Adrien  Lavielle.  At  the  Museum 
of  Fine  Arts,  Boston,  are  "  An  Interior  "  (unfinished),  presented  by 
Martin  Brimmer,  and  "Bergere  Assise,"  gift  of  S.  D.  Warren. 

"  The  late  M.  Millet,  besides  being  a  landscape-painter,  was  a  great  figure-painter. 
In  the  opinion  of  many,  and  those  not  the  admirers  of  the  newest  phase  of  French  art, 
the  Courbet-Manet-Corot  school,  he  was  the  first  French  painter  of  his  time.  Certainly 
the  French  school  has  never  produced  an  artist  with  such  thorough  devotion  to  nature, 
or  who  has  so  truthfully  rendered  scenes  and  emotions  of  natural  life.  His  works  have 
nothing  theatrical  or  cynical  about  them.  To  an  Englishman  they  are  suggestive  of  the 
poetry  and  sentiment  of  Burns,  and  the  sympathetic  feeling  for  nature  of  Wordsworth. 
He  had  the  art  of  introducing  into  pictures  of  modern  French  pastoral  life,  while  retaining 
the  truthfulness  of  nature,  all  the  elevated  qualities  of  the  best  artistic  culture  to  be  found 
in  the  works  of  the  great  masters.  Those  who  remember  the  'Angelus  du  Soir,'  in 
the  Exposition  of  1867,  well  know  this  is  no  exaggeration.  The  picture  represents  a 
couple  of  peasants,  man  and  woman,  who,  while  at  work  in  the  field,  hear  the  bell  of  the 
distant  church  tolling  the  Angelus.  They  stop  work,  reverently  bowing  their  heads  in 
silent  prayer.  For  expression  of  devotion  equally  genuine  we  must  go  back  to  the 
works  of  the  early  Italian  masters. 

"Many  of  your  readers  who  delighted  in  Millet's  works  will  probably  be  interested  in 
hearing  of  some  of  the  pictures  he  was  last  engaged  on,  but  of  which  few,  alas,  we  may 
hope,  were  quite  completed.  For  he  kept  his  works  long  in  the  studio,  always  endeav- 
oring to  make  them  as  perfect  as  possible,  not  only  in  their  execution  but  in  their  senti- 
ment. I  remember  his  showing  me  a  picture  of  a  village  church  of  Normandy,  the  one 
in  which  he  was  christened.  On  my  speaking  of  it  as  completed,  '  No,'  he  said,  '  there 
is  an  impression  of  this  scene  as  it  struck  my  imagination  when  a  child  which  I  have 
not  succeeded  in  rendering,  but  which  I  hope  to  get  some  day.' 

"  Barbison  is  one  of  those  French  villages  we  know  so  well,  a  long  street  of  cottages  and 
small  farm-houses,  with  their  picturesque  bassecours.  At  the  top  of  the  village,  ap- 
proaching the  forest  of  Fontainebleau,  is  a  range  of  modest  buildings,  one  of  which  has  a 
large  window.  This  is  the  residence  and  studio  of  Millet.  One  day  last  autumn,  being 
at  Barbison,  I  sent  my  card  to  M.  Millet,  and  asked  permission  to  see  any  work  he  might 
have  finished.  He  very  kindly  acceded  to  my  request,  and  led  the  way  along  a  shaded 
alley  to  his  studio.  His  appearance  was  decidedly  more  provincial  than  Parisian.  He 
wore  a  straw  hat,  loose  shooting-coat,  and  sabots.  His  manner  was  especially  courteous 
and  genial,  though  very  quiet.  He  gave  me  the  impression  of  being  nearer  fifty  than 
sixty  years  of  age. 

"  The  picture  on  his  easel  represented  an  old  farm-house  in  Normandy,  in  which  were 
visible  traces  of  Gothic  windows  and  buttresses  ;  in  front  was  some  broken  ground  with 
implements  of  labor  ;  in  the  distance,  the  sea.  The  charm  of  the  picture  was  in  the 
sentiment  of  sunny  repose  in  which  the  old  moss  and  lichen-covered  house  was  steeped. 
Seeing  the  respect  I  had  for  his  work,  Millet  then  produced  a  series  of  pictures  he  had 
in  progress,  but  which  space  forbids  me  to  more  than  briefly  notice  ;  the  hints  will  be 
sufficient  for  those  who  know  his  pictures.  Among  the  figure-subjects  were  two  lovely 
little  idyls,  one  a  shepherd-girl  leading  home  her  sheep,  girl  and  sheep  and  landscape  all 
flushed  in  rosy  light.  The  second,  a  boy  on  a  bank  blowing  his  horn  to  call  the  cows  ; 
the  figure  was  relieved  against  a  sunset  sky.  A  very  striking  work  represented  an 
orchard  in  springtime  ;  the  sun  was  shining  on  the  near  objects  and  middle  distance, 
over  which  the  rain  had  just  passed  ;  on  the  dark  stormy  sky  shone  a  double  rainbow. 
Also  a  stormy  landscape  was  one  subject,  with  a  fiock  of  sheep  being  driven  to  shelter 
under  the  cover  of  haystacks.  I  must  not  omit  a  noble  composition  of  which  the  scene 
Was  laid  in  an  autumn  field,  on  a  warm  sunny  afternoon.    Women  are  bringing  sheaves 


120     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  corn  to  the  threshing-ground,  around  which  are  ranged  a  score  or  so  of  threshers. 
This  group,  for  varied  and  spirited  action,  is  marvelous,  and  it  suggested  an  orchestra 
executing  an  allegro  motive  in  a  symphony  of  Beethoven  ;  behind,  straw  is  being  burned, 
the  huge  wreath  of  smoke  giving  additional  impressiveness  to  the  composition. 

"There  was  a  series  of  works  that  appeared  to  me  deeply  touching  even  then,  when 
their  author  stood  before  me  in  health  and  vigor.  These  were  some,  pictures  and  draw- 
ings made  during  the  late  war  in  the  neighborhood  of  his  birthplace,  a  village  near  Cher- 
bourg. In  them  was  reflected  the  sadness  which  must  have  fallen  on  every  patriotic 
Frenchman  during  that  terrible  period.  Its  expression  was,  perhaps,  most  profoundly 
given  in  a  landscape  representing  the  seashore,  with  a  long  range  of  low  cliffs,  the  undu- 
lating ground  and  slightly  agitated  sea  being  painted  in  varied  tones  of  gray,  exquisitely 
harmonious,  but  inexpressibly  mournful. 

"  He  seemed  to  regard  with  much  tenderness  a  drawing  of  the  house  where  he  was 
born,  very  like  Burns'  cottage,  only  having  an  additional  story.  '  My  ancestors  were 
peasants,'  said  he,  *  and  I  was  born  a  peasant.' 

"  Herein  was  the  secret  of  his  success,  and  of  his  power  in  reaching  the  hearts  of  men. 
He  painted  what  he  had  known  and  loved.  He  studied  and  first  practiced  his  art  at 
Paris  ;  latterly,  he  seems  wholly  to  have  lived  in  the  country,  and  had  even  given  up  ex- 
hibiting his  pictures  at  the  Salon.  '  The  work  there,'  he  remarked,  '  has  too  much  glare 
and  glitter,  and  too  little  of  the  modesty  of  nature.'  "  —  H.  Wallis,  London  Times. 

"  At  the  outset  it  may  be  observed  that  Millet,  the  greatest  painter  of  humanity  seen 
in  France  for  forty  years  or  more,  died  last  year.  None  like  him  survive.  To  him  the 
human  body,  with  all  its  exquisite  forms  and  retreating  curves,  delicate  grays  and  reds, 
and  soft,  palpitating  flesh,  was  but  a  casket,  beautiful  indeed,  but  inclosing  a  still  more 
wonderful  and  beautiful  soul  that  speaks  its  volitions  and  thoughts,  its  emotions  and 
sensations,  with  every  movement  of  those  limbs,  with  every  parting  of  those  lips,  and 
every  glance  of  those  eyes,  to  whose  eloquent  and  infinite  radiance  the  opals  of  the  Ural 
or  the  diamonds  of  Golconda  are  but  inert  matter  in  comparison.  Such  was  humanity 
to  the  searching,  divining  spirit  of  Millet."  —  Benjamin's  Contemporary  Art  in  Europe. 

"  This  picture  ['  The  Gleaners ']  attracts  you  from  afar  by  an  air  of  grandeur  and  se- 
renity. I  might  almost  say  that  it  announces  itself  as  a  religious  picture.  All  is  calm 
there,  the  drawing  is  without  a  fault  and  the  color  without  glitter.  The  August  sun 
vigorously  warms  the  canvas,  but  you  find  not  there  those  capricious  rays  which  sport 
themselves  in  the  pictures  of  M.  Diaz,  like  scholars  in  vacation-time  :  the  sun  of  Millet 
is  an  earnest  sun  which  ripens  the  grain,  which  makes  men  sweat,  and  loses  no  time  in 
trifling."  —  Edmond  About,  Salon  o/1857. 

"  Very  different  from  the  mannerists  of  the  ugly,  who  under  a  pretext  of  realism  sub- 
stitute the  hideous  for  the  true,  he  seeks  and  attains  style  in  the  representations  of  the 
types  and  scenes  of  the  country  ;  he  knows  how  to  give  them  a  rare  grandeur  and  noble- 
ness, while  he  in  no  sense  lessens  their  rusticity.  He  understands  the  inward  poesy  of 
the  fields,  he  loves  the  peasants  whom  he  represents,  and  in  their  resigned  figures  ex- 
presses his  sympathy  for  them.  The  seed-sowing,  the  harvest,  the  grafting,  are  they  not 
virtuous  actions  having  their  worth  and  their  grandeur  ?  Why  have  not  peasants  style  as 
well  as  heroes  ?  "  —  Theophile  Gautier. 

"  The  aim  of  a  great  painter  is  not  to  fly  away  towards  the  moon  and  the  stars  :  it  is 
to  walk  with  a  firm  step  and  a  feeling  heart  in  the  path  which  he  chooses,  always  sin- 
cere towards  himself,  towards  men,  and  towards  nature.  This  aim  Millet  had  ;  and  it 
was  that  which  made  him  incomparable  and  immortal."  —  Theophile  Silvestre. 

Millet,  Aims'.  (Fr.)  Born  at  Paris  about  1816.  Officer  of  the 
Legion  of  Honor.  Pupil  of  his  father,  of  David  d' Angers,  and  Viol- 
let-le-Duc.  He  studied  both  painting  and  sculpture,  and  made  his 
debut  as  a  painter  at  the  Salon  of  1842  ;  he  continued  to  exhibit 
pictures  until  1852.  He  is  best  known  and  most  admired  as  a  sculp- 
tor.  Among  his  works  may  be  mentioned,  "  Ariadne  "  (at  the  Luxem- 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  121 


bourg);  "  Mercury  "  (made  for  the  Louvre);  "  Civil  Justice "  (made 
for  the  Mairie  of  the  first  arrondissement  of  Paris)  ;  the  tomb  of  Mur- 
ger,  "  Youth  stripping  Leaves  from  Roses  " ;  "  Apollo  and  the  Muses 
of  Poetry  and  Dancing"  (group  in  bronze  for  the  New  Opera  at 
Paris)  ;  "  Vercingetorix  "  (a  statue  in  copper,  repousse),  erected  at 
Alise-Sainte-Reine  (Cote-d'Or),  and  "  Cassandra  placing  herself  under 
the  Protection  of  Pallas "  (marble  group),  Salon  of  1877.  One  of 
the  most  interesting  works  of  this  sculptor  is  the  statue  of  Chateau- 
briand, erected  at  St.  Malo  (where  this  author  was  born)  on  Septem- 
ber 5,  1875.  Chateaubriand  is  represented  seated  on  a  rock.  His  left 
hand  is  raised  to  support  the  head,  but  in  such  a  way  that  the  entire 
face  is  visible  ;  in  his  right  hand,  which  falls  on  the  lap,  he  holds  a 
crayon.  At  his  feet  are  exotic  plants  which  recall  the  travels  of 
Chateaubriand  when  young.  A  leaf  of  the  "  Genius  of  Christianity  " 
is  held  by  his  elbow  on  the  rock  against  which  he  half  supports  him- 
self ;  he  is  enveloped  in  a  large  cloak,  which  falls  gracefully  away 
from  the  upper  part  of  the  figure.  The  whole  effect  is  most  pleasing, 
and  the  statue  is  much  admired  for  its  conception  and  execution.  To 
the  Salon  of  1878  he  contributed  two  portrait  busts  in  marble. 

Millet,  Francis  D.,  A.  N.  A.  (Am.)  Born  in  Mattapoisett,  Mass., 
1846.  He  studied  in  the  Royal  Academy  of  Arts  at  Antwerp  under 
Van  Lerius  and  De  Keyser,  gaining  the  silver  and  gold  medals  of 
honor  in  1872  and  '73.  He  has  practiced  his  profession  in  the  United 
States,  Belgium,  England,  Italy,  France,  and  Austria.  He  has  painted 
a  number  of  portraits,  the  most  important  being  those  of  Charles 
Francis  Adams,  Jr.,  and  of  Samuel  L.  Clemens  (Mark  Twain),  both 
exhibited  at  the  National  Academy,  New  York,  in  1877.  A  large 
picture  called  "  The  Bay  of  Naples,"  at  the  Brussels  Salon  of  1875, 
was  at  the  American  Centennial  Exhibition  in  Philadelphia  in  1876. 
He  was  the  American  Art  Juror  at  the  Paris  Exposition  of  1878,  and 
has  distinguished  himself  as  a  journalist  in  America  and  Europe. 

"  In  the  North  Room,  we  first  encounter  Mr.  Millet's  portrait  of  Charles  Francis 
Adams,  Jr.  This,  and  the  portrait  of  Mark  Twain  at  the  other  end  of  the  room,  are  his 
only  contributions.  The  latter,  owing  to  its  subject,  is  the  more  characteristic.  Both 
portraits  are  excellent,  yet  with  higher  flesh-tints  than  the  originals  ;  the  figures  are 
solid,  detach  themselves  immediately  from  the  background,  and  are  a  refreshing  contrast 
to  the  dim,  vapory  forms  which  some  portrait-painters  give  us."  —  Bayard  Taylor,  in 
New  York  Tribune,  April  7,  1878. 

Mills,  Clark.  (Am.)  Born  in  the  State  of  New  York,  1815.  He 
learned  the  trade  of  a  plasterer  in  Charleston,  S.  C,  beginning  about 
1835  the  modeling  of  busts  in  clay,  selling  his  ideal  heads  for  modest 
prices  for  some  years.  His  first  important  work  in  marble  was  a  bust  of 
John  C.  Calhoun,  finished  in  1846,  for  which  he  was  awarded  a  gold 
medal  by  the  City  Council  of  Charleston,  in  whose  possession  this  work 
still  is.  Going  thereafter  to  Washington,  D.  C,  he  received  a  com- 
mission from  Congress  for  the  equestrian  statue  of  Jackson  in  that 
city,  cast  from  cannon  captured  by  that  hero,  and  unveiled  on  the 

VOL.  II.  6 


122     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


8th  of  January,  1853.  For  this  Congress  voted  Mills  $  20,000,  and 
$  50,000  for  the  Washington  statue  unveiled  in  1860.  In  1863  he 
cast  in  bronze  the  statue  of  "Freedom,''  designed  by  Crawford,  and 
now  on  the  dome  of  the  Capitol.  A  duplicate  of  the  Jackson  statue 
is  in  New  Orleans.    [Died,  1883.] 

"That  Clark  Mills  possesses  genius  cannot  be  doubted,  and  if  his  works  do  not 
possess  all  of  the  conventional  graces  of  European  art,  he  has  certainly  produced  two 
statues  which  are  original  and  in  perfect  keeping  with  the  manly  vigor  of  the  Young 
Republic."  —  New  York  Round  Table,  1866. 

"  Clark  Mills'  equestrian  statues  look  like  some  prodigious  Congressional  jokes  on 
art. "  —  Jarves'  Art  Thoughts. 

Milmore,  Martin.  (Am.)  Born  in  Boston,  1845.  He  entered  the 
studio  of  Ball  in  1860,  and  in  1863  he  sent  to  the  Sanitary  Fair  a 
statuette,  entitled  "Devotion."  He  studied  and  modeled  for  some 
time  in  Borne,  executing  there  busts  of  Pius  IX.,  Sumner,  Wendell 
Phillips,  Emerson,  and  other  noted  men.  He  received  the  commission 
for  the  Soldiers'  Monument  in  Boston,  unveiled  in  1877,  also  for  the 
Soldiers'  Monument  in  Forest  Hill,  Boxbury,  Mass.  Among  his 
works  may  be  mentioned,  busts  of  Longfellow,  Theodore  Parker,  and 
of  George  Ticknor,  in  the  Public  Library,  Boston  ;  one  of  B.  W. 
Emerson,  belonging  to  T.  G.  Appleton,  Boston  ;  also  the  ideal  figures, 
of  large  size,  "  Ceres,"  "  Flora,"  and  "  Pomona,"  in  granite  on  the  Bos- 
ton Horticultural  Hall.  His  bust  of  Charles  Sumner  was  presented 
to  George  William  Curtis  by  the  State  of  Massachusetts,  in  1878.  He 
has  been  happy  in  representing  children.  A  bust  of  a  young  son  of 
ex-Governor  Claflin  of  Massachusetts  is  notable  among  his  works  of 
this  sort.     [Died,  1883.] 

"  The  subject  is  most  gracefully  treated  [Soldiers'  Monument,  Boston],  and  the  artist 
is  entitled  to  much  credit  for  the  skill  with  which  he  has  worked  out  a  highly  poetic 
idea."  —  Art  Journal,  October,  1877. 

The  Boston  Journal  of  September  18,  1877,  in  describing  the  un- 
veiling of  the  Soldiers'  Monument  on  Boston  Common,  says  :  — - 

"  In  this,  Mr.  Milmore's  grandest  effort,  is  noted  the  purity  of  style  which  distin- 
guishes him  as  an  artist.  ....  A  most  striking  feature  of  the  monument,  and  one 
which  will  bear  the  most  careful  study,  is  the  series  of  bronze  bas-reliefs  which  are 
elaborately  executed  even  to  the  smallest  detail  The  statue  of  '  History '  dis- 
plays a  knowledge  and  skill  which  stamp  it  as  the  work  of  genius  In  viewing  the 

monument  as  a  whole  the  spectator  cannot  fail  to  be  charmed  with  the  symmetry  and 
completeness  of  the  structure.  The  immense  amount  of  labor  which  the  sculptor  has 
performed  can  only  be  fully  realized  by  a  close  inspection." 

Minardi,  Tommaso.   (Ital.)   Born  at  Faenza  (1787  -  1871).  This 

artist  was  a  member  of  several  Academies,  and  received  decorations 
from  several  monarchs  of  Europe.  In  a  concours  at  Milan,  Minardi 
gained  the  stipend  for  Borne,  where  he  received  from  the  engraver 
Longhi  a  commission  for  a  drawing  of  the  "  Last  Judgment  of  Michael 
Angelo,"  which  is  now  in  the  Gallery  of  the  Vatican.  While  at  Borne 
he  was  appointed  to  a  professorship  in  Perugia,  where  he  became  so 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  123 


distinguished  that  he  was  made  professor  in  the  Academy  of  St, 
Luke  at  Rome.  His  "  Vision  of  St.  Stanislaus "  is  in  the  Doria 
Palace  ;  the  "  Propagation  of  Faith,"  a  masterly  work,  is  in  the  Qui- 
rinal ;  "  Hector  reproving  Paris,"  at  Ravenna  ;  the  "  Supper  at  Em- 
maus,"  at  Faenza  ;  and  the  fresco  of  "  Lost  Souls  "  at  Campo  Verano 
in  Rome.  Minardi  made  an  album  containing  four  hundred  represen- 
tations of  the  Holy  Family.  After  he  was  stricken  with  paralysis  he 
made  a  lovely  crayon  drawing  of  "  Hippocrates  and  his  Scholars," 
which  he  presented  to  his  physician,  Professor  Baccelli  of  Rome. 

Minor,  Robert  C.  (Am.)  Born  in  New  York,  1840.  He  studied 
art  in  Paris  under  Diaz,  and  in  Antwerp  under  Van  Luppen,  Roulan- 
ger,  and  others,  traveling  through  Germany  and  Italy  for  some  time. 
His  studio  is  in  New  York,  and  he  has  exhibited  at  the  National 
Academy,  in  Brooklyn,  Chicago,  and  elsewhere  in  America.  Among 
his  works  are,  "  Evening,"  "  Dawn,"  "  Studio  of  Corot,"  etc.  He  is  a 
member  of  the  Society  of  American  Artists. 

"When  we  come  to  the  works  of  our  resident  artists,  who  represent  what  may  be 
called  the  progressive  school  of  art,  we  find  much  to  admire.  Eobert  C.  Minor's  land- 
scapes are  always  as  interesting  as  they  are  characteristic.    They  are  strongly  impressed 

with  the  sentiment  of  the  place  and  the  hour  which  they  represent  His  *  Studio 

of  Corot,'  a  charming  bit  of  landscape,  how  it  impresses  you  with  just  the  feeling  you 
would  have  in  the  solitude  of  the  country,  just  after  the  break  of  day,  and  before  the 
sun  has  burned  up  the  far-reaching  mists."  —Boston  Transcript,  March,  1878. 

"  There  are  those,  doubtless,  who  will  blame  Mr.  Minor  for  direct  imitation  in  his 
'  Studio  of  Corot,'  a  landscape  not  surpassed  in  the  Exhibition.  But  apart  from  the  fact 
that  it  is  permitted  to  one  artist  to  see  a  phase  of  nature  as  depicted  by  another,  why 
should  individuality  be  denied  an  artist  who,  seeing  and  loving  one  of  nature's  aspects, 
endeavors  to  the  best  of  his  ability  to  acknowledge  his  indebtedness  to  the  man  who 
has  most  reverently  studied  and  most  adequately  expressed  that  same  aspect.  In  Mr. 
Minor's  other  pictures,  especially  the  three  smaller  ones,  '  Autumn  Woods,'  '  Under  the 
Oaks,' and  'Evening'  [Society  of  American  Artists,  1878],  no  one  will  miss  individ- 
uality or  force,  though  prettiness  —  one  of  the  banes  of  modern  art  as  of  modern  litera- 
ture —  will  not  be  found."  —  New  York  Evening  Mail,  March  8,  1878. 

Mintrop,  Theodor.  (Ger.)  Born  at  Heithausen  (1814-1870). 
This  painter  was  poor,  and  labored  as  a  peasant  until  he  was  thirty 
years  old,  when  his  sketches  came  under  the  notice  of  Geselchap,  who 
introduced  him  to  the  art  circles  of  Diisseldorf  and  secured  the  recog- 
nition of  his  remarkable  powers.  He  painted  but  little  in  oils.  His 
best  works  are  cartoons  and  friezes,  full  of  his  fancies.  Such  subjects 
as  "  Wine,"  "  Occupations  of  Winter,"  "  Life  in  the  Fields,"  and  the 
"  Apotheosis  of  Bacchus  "  were  thus  rendered  by  him,  and  are  worthy 
of  much  praise. 

M'Kay,  William  D.  (Brit)  Native  of  Gifford,  East  Lothian,  Scot- 
land. He  began  his  art  studies  in  1860,  in  the  Ornamental  Class  of 
the  School  of  Design  in  Edinburgh.  Later,  he  studied  under  Robert 
Scott  Lauder  from  the  antique,  gaining,  in  1863,  a  first  prize  for  the 
best  study  in  monochrome,  and  entering  the  same  year  the  Life  Schools 
of  the  Royal  Scottish  Academy.    He  was  elected  an  Associate  of  the 


124     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Royal  Scottish  Academy  in  1877,  exhibiting  regularly  in  its  gallery. 
His  specialty  is  landscapes  with  cattle  and  figures.  His  professional 
life  has  been  spent  in  Edinburgh.  Among  his  pictures  may  be  noted, 
"  An  October  Morning,"  "  Field- Working  in  Spring,  —  at  the  Potato 
Pits,"  "  Twilight,"  "  Seedtime,"  etc.     [R.  S.  A.,  1883.] 

Molteni,  Giuseppe.  (Ital.)  Born  at  Alferi,  near  Milan  (1800- 
1867).  Member  of  the  Academy  of  Milan  and  Conservator  of  the 
Brera  Gallery.  Pupil  of  the  Academy  of  Milan.  His  picture  of  "  The 
Confession  "  is  in  the  Vienna  Gallery.  "  A  Holy  Family  "  is  at  the 
National  Gallery,  Berlin.  His  works  are  principally  in  private  col- 
lections. Molteni  gained  several  medals,  and  received  the  decorations 
of  various  orders. 

Monchablon,  Xavier  Alphonse.  (Fr.)  Born  at  Avillers.  Prix 
de  Rome,  1863.  Medals,  1869  and  '74.  Pupil  of  Comu  and  Gleyre.  At 
the  Salon  of  1877  he  exhibited  "  The  Toilet  of  Venus" ;  in  1876,  a 
portrait  and  "  Jeanne  d'Arc";  in  1875,  "  Salvator  Mundi"and  two 
portraits  ;  and  in  1878,  "  A  Fallen  Titan  "  and  "  Summer,"  "  August," 
and  "  October,"  three  decorative  panels. 

Montagny,  Etienne.  (Fr.)  Born  at  Saint-^tienne,  1816.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Rude  and  David  d' Angers. 
His  "  Saint  Louis  de  Gonzague  "  (1864)  is  at  the  Luxembourg.  In  1877 
he  exhibited  "  St.  Francis  of  Assisi,"  a  statue  in  stone,  and  "  Hope," 
statue,  plaster ;  in  1873,  "  Mater  Dei,"  statue,  a  font.  His  portrait 
busts  and  statues  are  numerous,  and  many  have  been  seen  at  the 
Salons. 

Montalba,  Clara.  (Brit.)  A  native  of  Cheltenham.  She  studied  in 
Paris  under  Eugene  Isabey,  spending  her  professional  life,  which  began 
in  1874,  in  London  and  Venice.  She  was  elected  an  Associate  of  the 
Society  of  Painters  in  Water-Colors  in  1874,  and  has  been  a  member 
of  the  Societe  des  Acquarellistes  Beiges  since  1876.  Among  the  more 
important  of  her  works  are,  "  The  Last  Journey  "  (7  by  4^),  in  oil 
(R.  A.,  1878) ;  "  Clearing  the  Customs,"  water-color  (never  exhibited), 
4  by  6  feet  (both  belonging  to  W.  Ingram,  M.  P.),  "  Blackfriars' 
Bridge,"  "  Fishing-Boats,"  "  Venice,"  etc.  Her  "  Blessing  a  Tomb, 
Westminster,"  was  at  the  Philadelphia  Exhibition  of  1876,  and  her 
"  Corner  of  St.  Mark's,  Venice  "  and  "  Fishing-Boats,  Venice  "  (all  in 
water-colors)  were  at  Paris  in  1878. 

" '  II  Guardino  Publico '  stands  foremost  among  the  few  redeeming  features  of  the 
Exhibition  [Society  of  British  Artists,  1874].  In  delicate  perception  of  natural  beauty 
the  picture  suggests  the  example  of  Corot.  Like  the  great  Frenchman,  Miss  Montalba 
strives  to  interpret  the  sadder  moods  of  Nature,  when  the  wind  moves  the  water  a  little 
mournfully,  and  the  outlines  of  the  objects  become  uncertain  in  the  filmy  air. " — Art 
Journal,  January,  1874. 

Monteverde,  Giulio.  (Ital.)  Born  at  Bristagno,  near  Acqui, 
about  1836.  Professor  in  the  Academy  at  Rome.  The  prize  of  4,000 
lire  given  at  the  National  Exhibition  of  Fine  Arts  at  Milan  was 
awarded  to  the  "  Genius  of  Franklin,"  executed  by  this  sculptor.  The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  125 


work  was  purchased  by  the  Khedive  of  Egypt,  who  conferred  on  Mon- 
te verde  the  diploma  and  insignia  of  Conimendatore  of  Medjie.  At 
the  Vienna  Exposition  his  group  of  "Jenner  inoculating  his  little 
Daughter,"  though  only  in  plaster,  attracted  much  attention  and 
gained  the  gold  medal,  to  which  was  added  the  title  of  Commendatore 
of  the  Order  of  Francis  Joseph.  One  of  the  latest  works  of  this  Ro- 
man artist  is  a  colossal  monumental  group,  in  honor  of  Riva  of  Turin. 
A  statue  called  "  The  First  Inspirations  of  Columbus  "  is  in  the  Boston 
Art  Museum.  At  Munich  in  1870  he  exhibited  "  Children  playing 
with  a  Cat "  (belonging  to  the  King  of  Wurtemberg).  Several  works 
by  this  artist  were  at  the  Paris  Exposition  in  1878,  and  his  model  for 
the  monument  of  Count  Massari  was  much  praised  by  Anatole  de 
Montaiglon  in  the  "  Gazette  des  Beaux- Arts,"  July,  1878. 

Monvel,  Louis-Maurice  Boutet  de.  (Fr.)  Born  at  Orleans. 
Pupil  of  Cabanel,  G.  Boulanger,  J.  Lefebvre,  and  Carolus  Duran. 
Medal  of  third  class  in  1878,  when  he  exhibited  "  The  Good  Samar- 
itan "  and  a  portrait;  in  1877,  he  sent  "  The  Toilet  of  Venus  "  and  a 
portrait ;  in  1876,  two  portraits. 

Mooney,  Edward,  N.  A.  (Am.)  Born  in  New  York,  1813. 
^He  studied  in  the  National  Academy,  gaining  a  gold  medal  for  an 
original  design  of  a  single  figure  in  oil.  He  was  also  a  pupil  of  In- 
man  and  of  William  Page.  He  has  spent  his  professional  life  in  his 
native  city,  working,  however,  during  three  winters,  in  Columbus,  Ga., 
and  one  in  Savannah.  His  summer  house  is  at  Red  Hook,  New 
York.  His  specialty  has  been  portrait-painting.  He  was  elected  an 
Associate  of  the  National  Academy  in  1839  and  Academician  in  1840. 
Among  the  better  known  of  Mr.  Mooney's  portraits  is  that  of  Achmet 
Ben  Aman,  Commander  of  the  ship  "  Sultan,"  and  representative  of 
the  Imaum  of  Muscat  to  the  United  States,  which  was  at  the  National 
Academy  in  1840,  and  was  purchased  by  the  Common  Council  of 
New  York.  His  portraits  of  ex-Mayors  Isaac  L.  Varian,  Andrew 
Mickle,  and  Jacob  R.  Westervelt  are  in  the  City  Hall,  New  York; 
that  of  Judge  Edmunds  belongs  to  the  New  York  Bar  Association; 
and  that  of  Governor  Seward  is  in  the  State  House  at  Albany. 

Moore,  George  B.  (Brit.)  (1806-1876.)  Engaged  for  some 
years  as  a  teacher  of  drawing  in  the  University  of  London  and  in' 
the  Military  Academy  at  Woolwich.  Was  the  author  of  several  useful 
educational  works  on  art  subjects.  He  has  not  exhibited  at  the  Royal 
Academy  since  1859. 

Moore,  Albert.  (Brit.)  A  native  of  York.  He  studied  in  the 
Langhani  Life  Classes  in  London,  and  has  practiced  his  profession  in 
the  English  metropolis  for  some  years.  His  specialty  is  the  human 
figure,  treated  in  a  decorative  style.  Among  his  later  pictures  are, 
"  Garnets,"  at  the  Royal  Academy,  in  1878;  "  Birds,"  at  the  Grosvenor 
Gallery,  the  same  year.  To  the  Royal  Academy,  in  1871,  he  sent 
"  Battledore  "  and  "  Shuttlecock,"  companion  pictures  ;   in  1874, 


126    ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"Shells";  in  1875,  "The  Flower- Walk " ;  in  1876,  "Beads";  etc. 
His  "  Finis,"  "  Beads,"  and  the  "  Palm  Fan  '*  were  at  the  Paris  Expo- 
sition of  1878. 

"  Albert  Moore  is  indeed,  I  think,  so  far  as  any  contiguity  of  modern  to  ancient  art 
may  be  predicted  at  all,  nearer  in  spirit  to  the  Greek  than  any  other  artist  among  us. 
....  He  stands  nearly  alone  in  our  day  in  his  realization  of  an  ideal  physical  nobleness 
in  the  human  type,  and  in  his  power  of  arranging  and  combining  the  lines  of  the  human 
form  into  visible  rhythm  and  symmetry,  not  less  delightful  than  are  the  audible  rhythm 
and  symmetry  of  music."  —  Sidney  Colvin,  in  English  Painters  of  the  Present  Day. 

"  The  motives  of  Albert  Moore's  art  certainly  differ  widely  from  that  of  most  of  his 
contemporaries ;  it  differs  also  from  the  spirit  of  much  that  is  great  in  modern  painting. 
His  purpose  does  not  include  either  sentiment  or  passion,  and  the  form  and  color  of  his 
work  are  suggested  by  the  simplest  incidents  of  physical  movement."  —  Art  Journal, 
July,  1874. 

"  'Tli©  Reader'  is  the  finest  picture  in  the  whole  fifteen  hundred  [Royal  Academy, 
1877].  ....  The  very  essence  of  the  purity  of  coloring  has  been  introduced  by  Mr. 
Albert  Moore  into  this  single  figure,  which,  clad  in  the  artistic  peculiar  shade  of  red 
overhung  with  white,  stands  engrossed  in  the  pamphlet  she  easily  balances  in  her  hands. 
All  Mr.  Moore's  works  testify  to  that  rare  quality  of  the  good  effect  produced  by  contrast 
of  color,  and  the  value  obtained  by  placing  it  judiciously  in  small  quantities. "  —  London 
Observer,  May,  1877. 

"  To  a  more  purely  decorative  school  —  for  he  banishes  emotion  altogether — belongs 
Mr.  Albert  Moore,  who  has  studied  the  treatment  of  draperies  in  the  Greek,  rather  than  in 
the  Italian  school,  and  who  works  in  a  key  of  color,  or  rather  of  tinting,  all  his  own. 
He  has  a  way  of  throwing  his  flesh  into  half -shadow,  whilst  the  accessories  are  brilliant, 
and  the  color  of  this  half-shadow  is  objectionable,  —  heavy  gray  with  a  tinge  of  violet ; 
this  is  his  one  flaw  as  a  colorist,  and  we  have  long  remarked  it.  He  draws  very  suffi- 
ciently well,  but  no  more  than  that ;  and  he  has  an  intelligent  energy  of  action,  which 
does  not  mar  decorative  repose  ;  of  this  his  '  Birds '  is  an  example.  His  plan  of  yellow 
is  exquisitely  fanciful  and  inventive,  and  in  these  tine  variations  he  uses  as  his  strongest 
accent  orange-color,  the  one  hue  all  but  universally  avoided  in  art,  with  happy  effect." 
—  Magazine  of  Art,  July,  1878. 

Moore,  Henry.  (Brit)  A  brother  of  Albert  Moore,  and  a  pupil 
of  the  Langham  Schools.  He  paints  landscapes  and  marine  views, 
particularly  the  latter,  in  oil  and  water  colors.  He  has  a  studio  in 
London,  exhibiting  frequently  at  the  Royal  Academy  for  some  years. 
He  was  at  one  time  a  member  of  the  Society  of  British  Artists,  and 
was  elected  an  Associate  of  the  Society  of  Painters  in  Water-Colors 
in  1876.  Among  his  works  in  oil  may  be  noted,  "  Loss  of  a  Barque 
in  Yarmouth  Roads,"  "  The  Last  of  the  Light,"  "  Mist  and  Sunshine," 
"  Highland  Pastures,"  "  Moonlight,"  etc.  In  water-colors  he  has  exhib- 
ited "  Sunset  in  the  Highlands,"  "  The  First  Snow  of  Autumn/'  "  A 
Fresh  Breeze"  (marine),  "A  Salmon  Pool,"  "A  Mountain  Loch,"  and 
others.  To  the  Philadelphia  Exhibition  of  1876  he  sent  "A  Winter 
Gale  in  the  Channel "  and  "  Storm  coming  on  at  Sunset,  Coast  of 
North  Wales,"  both  in  oil.  To  Paris,  in  1878,  he  sent  (also  in  oil- 
colors)  "Rough  Weather  in  the  Mediterranean"  and  "A  Bright 
Morning  after  a  Gale." 

"'Against  the  Tide'  [water-color]  is  by  an  artist,  Henry  Moore,  who  describes  the 
different  moods  of  the  sea  with  language  peculiarly  forcible,  and  without  exhausting  hie 
means  of  effect  with  exaggerated  masses  of  water."  —Art  Journal,  March,  1873. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  127 


"  H.  Moore's  1  Loss  of  a  Barque '  is  a  vessel  aground  and  swamped  by  breakers.  The 
movement  of  the  waves  is  powerfully  rendered,  and  the  sea  is  very  truly  painted  ;  there 
is  much  beauty  in  the  effect  of  light  and  local  color ;  the  modeling,  though  the  reverse 
of  smooth,  is  characteristic  of  the  painter."  —  London- Athenceum,  May,  1877. 

"  We  must  give  strong  praise  to  Henry  Moore's  '  Highland  Pastures,'  a  picture  which 
iinites  with  the  artist's  invariable  mastery  of  hand  and  knowledge,  a  repose  and  reserve 
of  color  which  are  less  usual  in  his  works."  —  Magazi ne  of  Art,  August,  1878. 

Moore,  H.  Humphrey.  (Am.)  Born  in  New  York,  1844.  Dis- 
played a  taste  for  art  at  an  early  age;  studied  in  his  native  city  and  in 
San  Francisco.  In  1865  he  went  to  Munich.  After  some  time  spent 
there  and  in  l'Elcole  des  Beaux- Arts  in  Paris,  he  entered  the  studio  of 
Gerome.  Later,  going  to  Spain,  he  met  Fortuny  at  Madrid,  whose 
friend  and  pupil  he  became.  He  devoted  two  years  to  the  study  of 
Moorish  life,  and  between  the  years  1873  and  '75,  he  worked  in  Rome 
with  Fortuny  on  his  "  Almeh."  In  1875  he  returned  to  the  United 
States.  Among  his  better- known  pictures  are  his  "  Almeh,"  "  Blind 
Guitar-Player  "  (belonging  to  Robert  Graves  of  Tarrytown),  "  Gypsy 
Encampment,  Granada,"  "  Moorish  Bazaar  "  (belonging  to  Charles  S. 
Smith  of  New  York),  "  Let  Me  Alone  ! "  (in  the  collection  of  Judge  Hil- 
ton), "  A  Bulgarian,"  "  Moorish  Merchant,"  etc.  He  received  a  medal 
for  the  "  Almeh  "  at  the  Philadelphia  Centennial  Exhibition  of  1876. 

"  'The  Moorish  Merchant,'  by  H.  H.  Moore,  is  a  very  strongly  painted  picture,  illus- 
trative of  a  scene  in  Tangiers,  where  the  picture  was  painted.  We  believe  Mr.  Moore 
was  once  a  pupil  of  Fortuny  ;  at  any  rate,  his  art  motives  and  ideas  are  of  the  character 
of  that  artist.  The  drawing  of  this  picture  deserves  marked  attention,  and  the  coloring, 
although  necessarily  gay,  is  true  to  nature.  The  heads  are  characteristic  both  of  the 
race  and  with  reference  to  the  action  of  the  scene."  —  Buffalo  Courier,  February  7,  1877. 

"  The  figure  of  the  swaying,  admirably  drawn,  and  poised  woman  has  the  modesty  of 
unconsciousness,  associated  with  gayety  ;  the  abandon  of  delight  in  a  voluptuous  dance 
without  the  expression  or  manner  of  one  impure.  The  dance,  or  rather  body-swaying,  of 
the  '  Almeh '  is  located  by  the  artist  in  one  of  the  gorgeous  halls  of  the  Alhambra,  fres- 
coed in  the  intricate  and  dreamy  harmony  of  Moresque  decorations,  and  over  the  floor 
is  spread  a  carpet  rich  in  warm  hues.  The  attitude  of  the  girl  leaves  the  body  semi-nude, 
and,  while  correct  in  point  of  costume,  is  contrived  with  consummate  judgment  for  effect 
in  color."  —  San  Francisco  Morning  Call,  November  11,  1S77. 

Moran,  Edward,  A.  N.  A.  (Am.)  Born  in  Lancashire,  England, 
1829.  Elder  brother  of  Peter  and  Thomas  Moran.  He  arrived  in 
Philadelphia  in  1844,  and  was  a  pupil  of  James  Hamilton,  marine- 
painter,  and  of  Paul  Weber,  landscape-artist.  He  went  abroad  in 
1862,  studying  in  the  Royal  Academy,  London,  for  a  few  months.  In 
1869  he  settled  in  New  York,  going  to  Paris  in  1877,  where  he  lived 
some  time.  He  is  a  member  of  the  Philadelphia  Academy  of  Fine 
Arts,  and  was  elected  an  Associate  of  the  National  Academy  in  1873. 
His  first  pictures  were  exhibited  in  Philadelphia  in  1853.  Among 
the  better  known  of  his  works  are,  "  Mt.  Lafayette  from  Franconia, 
N.  H.,"  "  Bay  of  New  York  "  (several  views),  "  Liberty  enlightening 
the  World,"  "  Launch  of  the  Life-Boat "  (owned  by  Matthew  Read  of 
Philadelphia),  "  The  Lord  staying  the  Waters  "  (owned  by  Robert 
Hare  Powell,  Philadelphia),  "  Outward  Bound  "  (owned  by  Charles 


128     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Sharpless,  Philadelphia),  "The  Last  from  the  Wreck/'  "The  Tempest, 
from  '  David  Copperfield/  "  "  The  Bottom  of  the  Sea,"  "  The  Arrival 
of  the  Relief  Ship  at  Havre,"  "  Old  Fort  Dumpling,  Newport"  (be- 
longing to  George  L.  Thayer  of  Boston),  etc. 

To  the  Centennial  Exhibition  of  1876  he  sent  "  The  Hawk's  Nest  " 
and  "  Minot  Ledge  Light  "  (belonging  to  Mrs.  H.  E.  Lawrence),  "  The 
Winning  Yacht "  (belonging  to  W.  A.  Caldwell),  "  Moonlight  in 
New  York  Bay  "  and  "  Coming  Storm  over  New  York  Bay  "  (belong- 
ing to  R.  E.  Moore).  He  sent  to  the  National  Academy  of  1877 
"  Low  Tide,"  "  Sunset  on  New  York  Bay,"  "  Moonlight  on  Orient 
Bay  "  and  "  Off  Cape  Hatteras." 

"  Mr.  Moran  very  justly  merits  the  reputation  which  he  enjoys  as  an  eminent  land- 
scape and  marine  painter,  for  it  has  been  earned  by  diligent  application,  combined  with 
close  observation  of  nature.  He  seems  to  be  constituted  peculiarly  for  an  artist,  for 
with  quick  perceptive  faculties  and  a  mind  capable  of  reflection,  the  task  of  transcrib- 
ing and  translating  with  truthfulness  the  simple  beauties  and  refined  grandeur  of  the 
land  and  sea  has  not  been  to  him  an  irksome  toil,  but  has  proved  a  pleasure  ;  conse- 
quently, his  pictures  have  in  the  highest  degree  the  quality  of  imparting  delight  to 
others.  An  appreciative  observer  cannot  fail  to  regard  them  as  faithful  and  intelligent 
interpretations  of  the  truth  and  the  sentiment  of  ever- varying  nature  The  versa- 
tility of  this  artist  is  also  unusual,  for  there  are  few  subjects  of  general  interest  in  the 
outer  world  that  he  has  not  touched.  The  willow-copse  and  the  lily-pond,  the  caves  of 
ocean  and  the  mountain  snow-hooded  and  severe,  children  busy  with  nets  or  playing  on 
the  shelly  sand,  the  freshness  of  spring  and  the  glory  of  autumn,  are  among  his  produc- 
tions." —  Philadelphia  Evening  Bulletin,  March  6,  1871. 

"  'In  the  Narrows,'  by  Edward  Moran,  is  the  finest  marine  we  have  yet  seen  from  his 
pencil.  Nothing  could  be  simpler  in  plan  or  color.  ....  The  great  charm  of  the  pic- 
ture is  motion.  That  is  something  far  beyond  effects  of  technique.  Everything  is  in 
swift  or  beautiful  motion.  The  forms  of  the  water  are  exquisitely  chiseled,  so  sharp  and 
yet  so  fleeting,  and  painted  all  with  two  colors,  the  local  color  of  the  water  and  its 
shadow  color.  The  drawing  shows  no  random  work,  but  every  stroke  laid  on  with  con- 
summate knowledge."  —  Baltimore  Gazette,  July  1,  1873. 

Moran,  Thomas,  N.  A.  (Am.)  Born  in  Lancashire,  England,  1837. 
Brother  of  Edward  and  Peter  Moran.  He  was  taken  to  America  in 
1844.  Displayed  artistic  tastes  at  an  early  age,  and  was  apprenticed 
to  a  wood-engraver  in  Philadelphia,  remaining  with  him  for  two 
years.  He  turned  his  attention  to  water-color  painting,  studying 
without  a  master.  In  1860  he  began  the  use  of  oils,  his  first  picture 
being  an  illustration  of  Shelley's  "  Alastor."  He  went  to  Europe  in 
1862,  and  again  in  1866,  studying  and  copying  on  his  first  visit  the 
works  of  Turner  in  London  ;  on  his  second,  the  old  masters  in  France 
and  Italy.  In  1871  he  accompanied  the  Exploring  Expedition  to  the 
Yellowstone  Country,  and  in  1873  went  upon  a  similar  expedition 
under  Major  Powell,  making  sketches  for  his  two  great  works,  "  The 
Grand  Canon  of  the  Yellowstone  "  and  "  The  Chasm  of  the  Colo- 
rado," which  were  purchased  by  Congress  for  $  10,000  each,  and  are 
both  in  the  Capitol  in  Washington.  His  studio  was  in  Philadelphia 
until  1872,  when  he  removed  to  New  York.  He  is  an  Academician, 
of  the  Pennsylvania  Academy  of  Fine  Arts,  a  member  of  the  Artists' 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  129 


Fund  Society  of  Philadelphia,  of  the  Society  of  American  Painters-  in 
Water-Colors,  and  of  the  Society  of  American  Artists,  organized  in 
1878.  Among  the  more  important  of  Mr.  Moran's  works  may  be  men- 
tioned, "  The  Last  Arrow  "  (belonging  to  Mr.  Baird  of  Philadelphia), 
"  The  Ripening  of  the  Leaf "  (to  Mr.  Drexel),  "  The  Groves  were 
God's  First  Temples  "  (to  Dr.  J.  M.  Sommerville  of  Philadelphia), 
"  The  Remorse  of  Cain  "  (to  V.  Stausse,  Philadelphia),  "  The  Chil- 
dren of  the  Mountain  "  (at  the  Paris  Exposition  of  1867,  belonging  to 
Roswell  Smith  of  New  York),  "  The  Cliffs  of  Green  River  "  (to  John 
Taylor  Johnston  of  New  York),  "  The  First  Ship,"  "  Ponce  De  Leon 
in  Florida,"  "  A  Dream  of  the  Orient,"  "  A  Ride  for  Life,"  etc.  Many 
of  these  have  been  exhibited  in  New  York,  Philadelphia,  and  other 
American  cities.  He  sent  to  the  Centennial,  in  1876,  "  The  Moun- 
tain of  the  Holy  Cross,"  and  others,  for  which  he  received  a  medal 
and  diploma.     [N.  A.,  1884.] 

Besides  painting  in  oil  and  water-color,  Thomas  Moran  has  made 
many  illustrations  for  books  of  travel,  history,  etc.,  the  original  water- 
color  drawings  for  Prang's  "  Yellowstone  National  Park  "  (the  most 
elaborate  work  of  the  kind  yet  produced  in  this  country),  and  has  de- 
voted much  time  to  lithography  and  other  methods  of  engraving. 

"Next  to  Church's  ' Niagara,'  Mr.  Moran's  'Great  Canon  of  the  Yellowstone '  will, 
we  are  sure,  he  received  hy  the  hest  judges  of  America  as  the  finest  historical  landscape 
yet  painted  in  this  country.  In  its  original,  no  less  than  by  its  actual  achievement,  it 
deserves  to  be  placed  so  near  to  the  most  famous  picture  that  ever  came  out  of  an 

American  studio  The  composition  is  arranged  with  great  skill ;  the  tree  drawing 

is  most  satisfactory,  and  the  variety,  the  richness,  the  delicacy  of  the  color,  must  sur- 
prise those  who  have  learned  from  other  artists  that  nature  in  those  regions  is  dressed 
mostly  in  hodden-gray."  —  C.  C,  in  New  York  Tribune,  May  3,  1872. 

"  The  shrubbery  and  the  foliage  are  painted  with  a  free  but  at  the  same  time  a  careful 
hand,  and  even  though  occupying  a  subordinate  place  in  the  picture  ('  The  Mountain 
of  the  Holy  Cross  '),  are  finished  to  a  high  degree.  Mr.  Moran's  touch  has  greatly  im- 
proved in  firmness,  crispness,  and  certainty,  and  in  this  canvas  he  shows  a  thorough 
command  over  the  technique  of  his  art.    The  only  point  in  which  he  seems  to  have 

failed  is  in  giving  distance.  The  picture  seems  to  lack  atmosphere  Beyond  this  we 

have  only  praise  to  bestow  on  the  picture. "  —  Boston  Saturday  Evening  Gazette,  Novem- 
ber 14,  1875. 

"  Of  the  fidelity  of  this  painting,  '  The  Mountain  of  the  Holy  Cross,'  to  the  special 
characteristics  of  the  Rocky  Mountains  no  traveler  in  the  far  West  can  hold  one  moment 
of  question.  Of  the  skill  in  management  there  can  be  as  little  difference  of  opinion. "  — 
Aldine,  April,  1875. 

Moran,  Peter.  (Am.)  Born  in  Bolton,  Lancashire,  England, 
1842.  He  went  first  to  America  as  a  child,  and  began  the  study  of 
art  under  his  brother,  Thomas  Moran,  in  Philadelphia.  In  1863  he 
went  to  London,  and  spent  some  time  in  studying  the  English  mas- 
ters, but  he  has  never  been  connected  with  any  particular  school  of 
painting.  He  was  elected  a  member  of  the  Artists'  Fund  Society  in 
1867,  and  of  the  Pennsylvania  Academy  of  Fine  Arts  in  1868.  He 
nas  spent  his  professional  life  in  Philadelphia,  where  many  of  his  pic- 
6*  i 


130     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tures  have  been  exhibited  and  are  owned.  To  the  Centennial  Exhibi- 
tion of  1876  he  sent  "  The  Return  of  the  Herd  "  (for  which  he  received 
a  medal)  and  "  A  Settled  Rain  "  (sheep  in  a  barnyard),  which  was 
purchased  by  a  gentleman  of  New  York.  He  received  also  a  medal 
for  his  etchings  on  copper,  —  five  frames  of  animal  subjects.  To  the 
National  Academy,  in  1875,  he  sent  "A  Sunny  Slope"  ;  in  1876, 
"  Sand  Hills,  Atlantic  City."  His  "After  the  Chase  "  (rough  hounds 
on  the  outskirts  of  a  wood  in  autumn)  is  owned  by  P.  A.  Widner  of 
Philadelphia,  and  his  "  Twilight,  —  Sheep  returning  Home  "  (never 
publicly  exhibited)  is  in  the  collection  of  W.  H.  Whitney  of  the  same 
city. 

"  Peter  Moran's  excellent  etchings  are  very  varied  in  style  and  subject,  and  show  a 
thorough  mastery  over  the  resources  of  the  etching-needl0."  —  Art  Journal,  June,  1867. 

Moreau,  Mathurin.  (Fr.)  Bom  at  Dijon  about  1824.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Ramey  and  Dumont.  His  "  Spin- 
ning-Girl "  (1861)  is  at  the  Luxembourg.  This  sculptor  has  usually 
represented  such  subjects  as  "  Spring,"  "  Summer,"  "  Meditation,"  etc., 
which  require  single  figures.  His  groups  are,  "  Sleeping  Children," 
"  Saltarella,"  "  Primavera,"  etc.  To  the  Salon  of  1878  he  sent  a  statue 
of  "  Oceanie  "  and  a  statuette  of  "  Phryne." 

Moreau,  Mathurin- Auguste.  (Fr.)  Born  at  Dijon.  Son  and 
pupil  of  the  preceding.  He  received  a  third-class  medal  in  1874, 
when  he  exhibited  "  Hylas,"  statue,  plaster  ;  "  Children,"  bas-relief, 
terra-cotta  ;  and  "  Rita,"  bust,  bronze.  In  1877  he  exhibited  "The 
Path  of  Flowers,"  group,  plaster. 

Moreau,  Adrien.  (Fr.)  Born  at  Troyes.  Medal  in  1876.  Pupil 
of  Pils.  At  the  Salon  of  1877  were  "  The  Tziganes  "  and  "  Under 
the  Shrubbery  "  ;  in  1876,  "  Repose  at  the  Farm  "  and  a  "  Fair  in  the 
Middle  Ages"  ;  in  1878,  "  Gypsies  of  Granada  "  and  "Le  menuet." 

Moreau,  Gustave.  (Fr.)  Born  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Picot.  At  the  Salon  of  1876  he  exhibited,  "  Her- 
cules and  the  Hydra  of  Lernse,"  "Salome,"  and  some  sketches  in 
water-colors.  His  picture  of  "  The  Swimming  Lesson  "  is  a  pleasing 
work.    His  "Orpheus"  (1868)  is  at  the  Luxembourg. 

Moreau-Vauthier,  Augustin  Jean.  (Fr.)  Born  at  Paris.  Med- 
als at  Paris  in  1865  and  '75.  Pupil  of  Toussaint.  At  Philadelphia  he 
exhibited  a  "  Young  Italian  Shepherd,"  in  bronze,  and  received  a 
medal.  To  the  Salon  of  1878  he  contributed  "St.  Genevieve  "  (mar- 
ble statuette)  and  "  Fortune  "  (plaster  statue). 

Morelli,  Domenico.  (Ital.)  Born  at  Naples,  1826.  Honorary 
Member  of  the  Academy  of  St.  Fernando  of  Spain  at  Madrid  ;  of  the 
Royal  Academy  of  Archaeology,  Literature,  and  Fine  Arts  of  Naples  ; 
and  of  all  the  Academies  of  Fine  Arts  of  Italy.  Commander  of  the 
Orders  of  SS.  Maurice  and  Lazarus,  and  of  the  Crown  of  Italy,  and 
Cavalier  of  the  Order  of  Civil  Merit  of  Savoy.  He  resides  at  Naples, 
and  was  sent,  when  quite  young,  to  Rome  by  the  Neapolitan  govern- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  131 


ment.  He  was  the  pupil  of  Prof.  Camillo  Guerra.  In  1855  he  took 
the  first  prize  at  the  Exposition  at  Naples  ;  at  the  National  Exposition 
of  Italy  in  1861,  and  at  the  Paris  Exposition  of  1867,  he  received  gold 
medals.  Among  his  works  are,  "  Cesare  Borgia  at  the  Siege  of 
Capua,"  owned  by  Count  Tosca  of  Palermo  ;  "  Christian  Martyrs," 
in  the  Gallery  of  Capo  di  Monte  ;  "  The  Assumption,"  in  the  Royal 
Chapel  at  Naples  ;  "  Tasso  and  Eleonora  "  ;  a  "  Madonna  and  Child," 
in  the  church  of  Castellani,  which  has  been  praised  by  Prof.  Villari ; 
a  "  Christ,"  painted  for  the  composer  Verdi  ;  an  "  Odalisque  after  the 
Bath  "  ;  etc.  The  works  of  Morelli  are  much  praised  by  Italian 
critics,  and  in  "Volere  and  Potere  "  Sig.  Lessona  has  devoted  a 
chapter  to  him.  At  the  Paris  Exposition  of  1878  were  his  "  Oda- 
lisque "  and  "  The  Temptation  of  St.  Anthony." 

"The  Neapolitan  Morelli  paints  sacred  subjects  in  a  less  ludicrous,  declamatory  style, 
but  after  a  curious  manner,  equally  removed  from  any  profound  feeling.  He  is  versatile 
and  clever,  but  neither  sincere  nor  skillful  enough  to  revive  the  dubious  merits  of  the 
Spagnuola  school  of  his  native  city,  whose  technical  eccentricities  he  affects.  So  far  as 
my  observation  goes,  the  '  professors '  of  art,  like  those  of  literature,  darken  knowledge 
rather  than  enlighten  the  people  or  advance  taste."  —  Jarves,  Art  Thoughts. 

Morgan,  William,  A.  N.  A.  (Am.)  Born  in  London,  1826.  He 
has  spent  the  greater  part  of  his  life  in  New  York,  receiving  his  art 
education  in  the  schools  of  the  National  Academy.  Among  his  more 
important  paintings  are,  "Emancipation,"  in  the  Olyphant  Collec- 
tion (exhibited  at  the  National  Academy  in  1868)  ;  "  The  Legend  " 
(N.  A.,  1875),  belonging  to  Governor  Fairbanks  of  Vermont  ;  "  Song 
without  Words  "  (N.  A.,  1876),  belonging  to  Mr.  Dutcher  of  New 
York  ;  "  Motherhood  "  ;  "  Reverie  "  ;  "  The  Oracle  "  ;  etc. 

"  From  the  easel  of  William  Morgan  there  is  a  half-length  life-sized  figure  of  a  girl, 
seated  in  an  old  library,  surrounded  by  musty  books.  The  subject  is  entitled  '  The 
Legend,'  and,  aside  from  its  unexpressive  name,  forms  a  delightful  study.  The  pose  is 
exceedingly  graceful,  and  the  modeling  of  the  face,  neck,  and  arms  is  painted  with  rare 
taste. "  — Art  Journal,  May,  1875. 

Morgan,  Matthew  ("Matt").  (Brit.- Am.)  Born  about  1840. 
He  was  a  pupil  of  Telbin,  with  whom  he  worked  for  some  years.  He 
painted  scenery  at  Drury  Lane  Theater,  and  while  engaged  at  that 
house  developed  a  taste  for  caricature,  which  led  to  his  becoming 
connected  with  the  London  Tomahawk,  a  comic  illustrated  journal. 
Later,  he  went  to  Spain,  making  many  large  designs  in  water-colors. 
After  his  return  to  London  he  was  engaged  by  Mr.  Frank  Leslie,  for 
that  publisher's  newspaper,  and  went  to  America  about  1865  or  '66, 
as  a  rival  to  Thomas  Nast,  who  was  furnishing  political  caricatures 
for  the  Harpers.  Later,  Mr.  Morgan  was  employed  by  Jarrett  & 
Palmer  and  other  theatrical  managers  in  New  York,  besides  engaging 
m  certain  theatrical  ventures  of  his  own.  He  was  once  a  resident 
of  Philadelphia,  drawing  on  stone  in  the  Ledger  Building  there.  He 
is  an  occasional  contributor  to  the  exhibitions  of  the  American  Water- 
Color  Society,  sending,  in  1875,  "  The  Old  Home  Fading  away,"  of 


132     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


which  the  Art  Journal  of  March,  1875,  said,  "  The  picture  is  well 
composed,  and  is  excellent  in  drawing,  but  the  color  is  cold  and 
crude."    He  now  has  a  studio  in  Cincinnati. 

Morin,  Francois-Gustave.  (Fr.)  Born  at  Rouen,  1809.  Chev- 
alier of  the  Legion  of  Honor.  Member  of  the  Academy  of  Rouen. 
His  "  Ariosto  reading  Fragments  of  his  Poem,"  and  other  works  of 
his,  are  in  the  Museum  of  Eouen.  "  Titian  preparing  his  Colors  "  is 
at  the  Museum  of  Havre.  Several  of  his  pictures  have  been  engraved 
by  Sixdeniers. 

Morot,  Aime-Nicolas.  (Fr.)  Born  at  Nancy.  Prix  de  Rome, 
1873.  Medal  in  1877.  Pupil  of  Cabanel.  At  the  Salon  of  1877  he 
exhibited  "  Medea"  and  a  portrait  of  Mile.  d'J^pinay ;  at  that  of  1873, 
"  Daphnis  and  Chloe." 

Morrell,  Imogene  Robinson.  (Am.)  A  native  of  Attleborough, 
Mass.,  she  studied  art  in  Diisseldorf  under  Camphausen,  and  in  Paris 
under  Couture,  residing  in  Paris  for  some  years.  She  paints  por- 
trait, genre,  and  historical  pictures,  gaining  a  medal  at  the  Mechanics' 
Fair,  Boston,  and  at  the  Exhibition  of  Philadelphia  in  1876.  Among 
her  more  important  works  are,  "  The  First  Battle  between  the  Puri- 
tans and  the  Indians,"  and  "  Washington  and  his  Staff  welcoming  a 
Provision  Train  "  (both  at  the  Centennial),  "  David  before  Saul,"  and 
others.  Her  pictures  are  still  signed  by  her  maiden  name,  Imogene 
Robinson. 

"  In  the  painting  of  the  horses  Mrs.  Moi'rell  has  shown  great  knowledge  of  their  action, 
and  the  finish  is  superb.  The  work  is  painted  with  great  strength  throughout,  and  its 
solidity  and  forcible  treatment  will  be  admired  by  all  who  take  an  interest  in  Revolution- 
ary history  In  the  drawing  of  the  figures  of  Standish,  and  the  chief  at  his  side, 

and  the  dead  and  dying  savages,  there  is  a  fine  display  of  artistic  power,  and  the  group- 
ing of  the  figures  is  masterly.  As  in  the  companion  picture,  the  utmost  care  has  been 
taken  in  the  finish,  and  the  painting  shows  a  solidity  of  treatment  and  a  mastery  of  a 
higher  standard  in  art  than  is  often  attained  by  a  female  artist.  In  color  the  works  are 
exceedingly  brilliant. "  —  New  York  Evening  Post,  February  29,  1876. 

Morris,  P.  R,  A.  R.  A.  (Brit.)  Born  in  1836.  For  two  years  he 
studied  in  the  British  Museum,  chiefly  the  Elgin  marbles,  entering  the 
Royal  Academy  in  1855.  The  same  year  he  won  the  silver  medal  of 
the  Royal  Academy  for  best  drawing  from  life  ;  in  1856  he  received 
two  medals ;  in  1858  he  won  the  gold  medal  for  the  best  historical 
painting,  "  The  Good  Samaritan,"  and  won  also  the  traveling  student- 
ship, spending  some  time  in  Italy  and  France.  He  first  exhibited  at 
the  Royal  Academy,  in  1858,  "  Peaceful  Days,"  a  picture  purchased 
by  Thos.  Creswick,  R.  A.  To  the  Gallery  of  the  British  Institute, 
in  1860,  he  sent  the  "Widow's  Harvest";  in  1864,  "Where  they 
Crucified  Him";  in  1865,  "The  Battle  Scar."  His  "Voices  from 
the  Sea"  was  at  the  Royal  Academy  in  1860  ;  "  Captives'  Return,"  in 
1861  ;  "  Jesu  Salvator,"  in  1865  ;  "  Riven  Shield,"  in  1866  ;  "  Drift 
Wreck  from  the  Armada,"  in  1867  ;  "  Ambuscade,"  in  1869  ;  "  The 
Summit  of  Calvary,"  in  1871;   "Highland  Pastoral,"  in  1872; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  133 


"  Whereon  he  Died,"  in  1873  ;  "  Through  the  Dell,"  in  1874  ;  in 
1875,  "The  Mowers"  ;  in  1876,  "  The  Sailor's  Wedding"  ;  in  1877, 
"The  Heir  of  the  Manor"  and  "The  Lost  Heir";  in  1878,  when 
he  was  elected  Associate  of  the  Royal  Academy,  he  contributed 
"The  First  Communion"  and  "The  Tomb."  His  "Shadow  of  the 
Cross,"  never  exhibited,  belongs  to  the  Baroness  Burdett-Coutts.  "  The 
Mowers,"  "  The  Reaper  and  the  Flowers,"  and  "  The  Sailor's  Wed- 
ding "  were  at  the  Paris  Exposition  of  1878. 

"  Mr.  Morris  has  taken  the  suggestions  for  the  grace  that  is  in  this  picture  ['  End  of 
the  Journey,'  R.  A.,  1874]  from  a  simple  and  earnest  style  of  real  life,  and  the  effect  he 
gains  could  be  got  only  by  close  and  long  observation  of  figures  and  landscape  seen  to- 
gether. Tims  we  have  no  touch  of  the  artificial  pose  and  conscious  elegance  of  the  pro- 
fessed model  In  the  execution  of  the  landscape  we  note  what  seems  to  us  to  be 

the  most  defective  work  of  the  picture.  The  treatment  of  twilight  wants  subtlety  and 
depth  ;  passages  of  color  here  and  there  help  to  give  a  crude  effect  to  the  whole  design. 
Nevertheless,  few  works  of  more  delicate  and  tender  sentiment  are  in  the  Exhibition."  — 
Art  Journal,  July,  1874. 

Morse,  Samuel  F.  B.,  N.  A.  {Am.)  Born  in  Charlestown,  Mass. 
(1791  -  1872).  Graduated  at  Yale  College,  1810.  Went  to  England 
the  following  year  with  Washington  Allston,  whose  pupil  he  was, 
studying  also  under  Benjamin  West.  He  executed  a  model  of  a  Dy- 
ing Hercules,  for  which  he  received  a  gold  medal  from  the  Adelphi 
Society  of  Arts.  In  1829  he  made  a  second  voyage  to  Europe  for  the 
purpose  of  completing  his  art  studies.  He  was  one  of  the  founders 
of  the  New  York  Academy  of  Design  in  1826,  and  its  second  presi- 
dent, holding  the  office  from  1829  to  '45.  At  one  time  he  was  lec- 
turer on  the  Fine  Arts  at  the  New  York  Athenaeum.  As  a  painter, 
he  was  not  very  successful,  and  abandoned  art  as  a  profession  in 
1839.  Such  of  his  pictures  as  still  exist  are  prized  rather  as  the  work 
of  Morse,  the  inventor  of  the  Electric  Telegraph,  than  on  account  of 
any  particular  artistic  merit  of  their  own.  His  "  House  of  Kepresen- 
tatives  in  Washington  in  1823,"  belonging  to  Joseph  Kipley,  was  at 
the  National  Academy  in  1869. 

Morse,  Henry  D.  {Am)  Born  in  Boston,  1826,  where  he  has  since 
lived.  He  had  no  instruction  in  art,  and  cannot  be  considered  a  pro- 
fessional artist.  Still,  in  his  leisure  hours  for  many  years  he  has 
painted  pictures,  generally  of  animals  and  game,  which  have  met  with 
a  ready  sale  in  Boston,  and  are  very  highly  regarded.  He  is  a  mem- 
ber of  the  Boston  Art  Club. 

Mortemart-Boisse,  Baron  Enguerrand  de.  {Fr.)  Bom  at 
Paris.  Medal  in  1876.  Pupil  of  A.  Johannot  and  T.  Johannot.  At 
the  Salon  of  1876  he  exhibited  "  The  Bed  of  an  Alpine  Torrent  near 
Nice,"  and  in  1878,  "  An  Oil  Mill  near  Nice." 

Moser,  Karl  Adalbert.  {Ger.)  Born  at  Berlin,  1832.  Medal 
at  Berlin,  1854.  Pupil  of  the  Berlin  Academy.  Visited  France  and 
Italy.  He  has  executed  decorations  for  various  government  buildings, 
reliefs  for  the  Beuth  monument,  and  the  groups  on  the  Belle- Alliance- 


134     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Platze.  At  the  National  Gallery,  Berlin,  is  his  figure  called  "  Kunst- 
technik." 

Moss,  Ella  A.  {Am.)  Born  in  New  Orleans,  1844.  Went  to 
Europe  at  an  early  age,  became  a  pupil  of  the  Diisseldorf  schools  un- 
der Professor  Sohn,  and  spent  many  years  in  the  study  and  practice 
of  her  profession  in  Belgium  and  Germany.  She  returned  to  the 
United  States  in  the  winter  of  1877  -  78,  opening  a  studio  in  New 
York.  Among  her  portraits  are  those  of  many  distinguished  people 
in  Europe  and  America.  She  exhibited  a  portrait  of  Rev.  Dr.  Mor- 
gan at  the  National  Academy  in  1878. 

Mouchot,  Louis.  (Fr.)  Born  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Drolling  and  Belloc.  At  the  Salon  of  1877  he 
exhibited  "A  Dahabieh  on  the  Nile";  in  1876,  "  The  Ducal  Palace 
at  Venice  "  and  "The  Grand  Canal  "  ;  in  1875,  "  A  Shop  at  Cairo  " 
and  "The  Shadoof";  in  1874,  "  Evening  Prayer  "  ;  and  in  1878, 
"  The  Grand  Canal,  Venice  "  and  "  A  Street  in  Cairo." 

Moulin,  Hippolyte.  (Fr.)  Born  at  Paris.  Medals  in  1864,  *67, 
and  '69.  Pupil  of  Barye.  Exhibited  at  Philadelphia  "  The  Secret " 
and  "  A  Discovery  at  Pompeii,"  both  in  bronze,  for  which  he  received 
a  medal.  At  the  Paris  Salon  in  1877  he  exhibited  "  Gallia  Nostra," 
statue,  plaster,  which  was  praised  by  Proth  in  his  "  Voyage  au  Pays 
des  Peintres  "  for  that  year.  "  A  Discovery  at  Pompeii  "  (1864)  is  at 
the  Luxembourg.  To  the  Salon  of  1878  he  sent  a  portrait  of  M.  Du- 
quesne. 

Mount,  Shepard,  A.  N.  A.  (Am.)  (1804-1868.)  Painter  of 
portraits  and  game  pictures.  Elected  an  Associate  of  the  National 
Academy  in  1831,  and  Academician  in  1842.  Among  his  works,  ex- 
hibited in  different  seasons,  may  be  named  his  portrait  of  Admiral 
Bailey,  U.  S.  N.  ;  portrait  of  himself,  painted  in  1833,  and  now  in 
the  possession  of  the  National  Academy  ;  and  "  Quail,"  "  Brook 
Trout,"  "  Shell-Fish,"  "  Wood- Robin,"  "Flowers,"  etc. 

Mount,  William  S.,  N.  A.  (Am.)  (1806-1868.)  Native  of 
Long  Island.  Began  the  practice  of  his  profession  as  an  artist  in  New 
York  in  1829.  In  1832  he  was  elected  member  of  the  National 
Academy.  His  first  picture  was  "  The  Daughter  of  Jairus,"  but  he 
early  turned  his  attention  to  the  representation  of  the  negro  character, 
in  which  he  was  very  successful  in  a  quaintly  humorous  way.  Dur- 
ing the  later  years  of  his  life  his  pictures  were  rarely  exhibited  in 
public.  He  sent  to  the  National  Academy  of  1868,  "  A  Portrait  of 
a  Lady  "  (belonging  to  William  H.  Wickham)  and  "  The  Dawn  of 
Day."  He  died  before  the  opening  of  the  Exhibition.  The  next  year 
was  seen  in  the  same  gallery  his  "  Peach  Blossoms "  (belonging  to 
J.  M.  Falconer).  His  "Turning  the  Grindstone"  and  "Farmer's 
Nooning  "  were  the  property  of  Jonathan  Sturges.  "  The  Turn  of  the 
Leaf"  is  in  the  collection  of  James  Lenox,  "Bargaining  for  a  Horse" 
is  in  the  New  York  Historical  Society,  and  "Raffling  for  a  Goose" 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  135 


(which  has  been  engraved,  and  was  very  popular  in  its  day)  belongs 
to  M.  0.  Roberts. 

"  Very  expressive  and  clever  are  Mount's  happy  delineations  of  the  arch,  quaint,  gay, 
and  rustic  humors  seen  among  the  primitive  people  of  his  native  place  ;  they  are  truly 
American."  —  Tuckerman's  Book  oftlie  Artists. 

Mozier,  Joseph.  (Am.)  Born  in  Burlington,  Vt.  (1812-1870). 
Was  originally  a  merchant  in  New  York.  Having  decided  artistic 
tastes  and  talents,  he  went  to  Europe  in  1845,  opening  a  studio  in 
Borne,  and  remaining  there  until  his  death.  Among  the  better  known 
of  his  sculptures  are,  "  Pocahontas,"  "  Wept  of  the  Wish-ton- Wish," 
"ftizpah,"  "Rebecca  at  the  Well,"  "Jephthah's  Daughter,"  "White 
Lady  of  Avenel,"  "  Undine,"  "  Queen  Esther,"  and  "  Truth  "  and 
"Silence"  (the  last  two  belonging  to  the  Astor  Library,  New  York). 
His  "  Prodigal  Son  "  is  in  the  Philadelphia  Academy  of  Fine  Arts. 

"  There  is  much  pathos  in  this  composition  ['  The  Prodigal  Son '],  which  appeals  with 
directness  and  force  to  the  hearts  of  those  who  pause  in  their  rambles  through  the  gal- 
lery to  gaze  on  it.  The  benignity  and  fatherly  tenderness  of  the  old  man  are  expressed 
in  a  language  that  all  may  read,  and  that  requires  no  explanation  or  commentary."  — 
Great  American  Sculptors. 

M'Taggart,  William.  (Brit.)  Born  in  Campbeltown.  He  re- 
ceived his  art  education  in  the  Trustees  Academy,  Edinburgh,  enter- 
ing that  institution  in  1852,  and  spending  his  professional  life  in  that 
city.  His  specialty  is  the  painting  of  child-life.  He  was  elected  an 
Associate  of  the  Royal  Scottish  Academy  in  1859,  and  Academician 
in  1870.  Among  his  pictures  are,  "  Love  lightens  Labor,"  "  The 
Young  Travelers,"  "  Followers  of  the  Fine  Arts,"  "  An  Old  Salt," 
and  at  the  Royal  Scottish  Academy  in  1870,  "  The  Fisher's  Landing," 
"*  A  Day  on  the  Seashore,"  "  Gathering  Drift,"  etc. 

"  Although  M'Taggart  is  unequal,  there  is  always  a  fresh  geniality  about  him  that 
commends  his  pictures  ;  he  takes  firm  hold  of  his  subject,  yet  occasionally  disregards 
finish.  His  'At  the  Fair'  has  less  of  this  defect ;  the  girls  examining  the  photograph 
have  each  her  own  idea,  and  all  is  natural.  'A  Sea-Bird,'  where  children  stretched  at 
ease  on  the  sandy  gorse  are  eagerly  examining  the  wings  of  a  water-fowl,  has  a  fine  shim- 
mering motion  of  the  sea  which  forms  the  background."  —  Art  Journal,  April,  1874. 

Miicke,  Heinrich  Karl  Anton.  (Ger.)  Born  at  Breslau,  1806. 
Medal  at  Besancon,  and  a  great  medal  from  Portugal.  Professor  at 
the  Diisseldorf  Academy,  where  he  had  studied.  He  traveled  in  Italy 
and  painted  historical  and  religious  subjects.  At  the  National  Gal- 
lery, Berlin,  are  "  St.  Catherine  of  Alexandria "  and  "  St.  Elisa- 
beth of  Hungary."  He  made  himself  known  as  a  fresco-painter  by 
his  work  at  the  castle  of  Heltorf,  and  in  the  Council-Chamber  of 
Elberfeld.  Some  of  his  pictures  are  well  known  by  the  engravings 
from  them,  especially  that  of  "  St.  Catherine  borne  to  Heaven  by 
Angels." 

Muller,  Charles-Louis.  (Fr.)  Born  at  Paris,  1815.  Member  of 
the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of  Gros  and 
Cogniet.    This  artist  is  so  well  known  by  his  picture  of  the  "  Roll- 


136     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Call  of  the  Last  Victims  of  the  Reign  of  Terror,''  that  his  other  works 
have  made  but  a  comparatively  small  impression.  This  immense 
work  (at  the  Luxembourg)  contains  many  figures  and  seventeen  ac- 
knowledged portraits.  A  copy  or  sketch  of  it  (51  by  94)  was  sold 
at  the  Johnston  sale,  1876,  for  $8,200.  Muller  has  painted  many 
portraits,  and  among  his  other  subjects  are,  "  Thomas  Diafoirus  "  and 
"  Mater  Dolorosa  "  (1877),  "Death  of  aGitano"  (1876),  "Madness 
of  King  Lear,"  "  The  Waiting,"  and  "  One  Moment  Alone  "  (1875), 
"Lanjuinais  at  the  Tribune,  June  2,  1793"  (1869),  "Desdemona" 
and  "  A  Scholar  "  (1868),  etc.  His  picture  of  "  Charlotte  Corday  in 
Prison"  (1875)  is  in  the  Corcoran  Gallery,  Washington.  This  work 
was  never  exhibited  in  any  other  place.  To  the  Salon  of  1878  he 
contributed  "  Give  us  Barabbas  !  "  and  a  portrait. 

"Muller's  great  picture  of  the  'Call  of  the  Condemned'  of  the  Reign  of  Terror  is 
perhaps  the  best  composed  historical  painting  of  our  time.  None  that  I  know  better 
fulfills  the  requirements  of  this  branch  of  art,  as  a  realistic  narrative.  It  carries  the 
spectator  directly  into  the  scene  as  it  must  have  appeared  on  that  morning  when  the 
last  of  Robespierre's  victims  were  wantonly  hurried  to  the  guillotine.  Muller  drags  it 
bodily  out  of  the  past,  and  puts  it  before  our  eyes  in  its  precise  truth,  without  dramatic 
exaggeration,  or  attempt  to  heighten  anguish  and  despair  sufficiently  intense  in  their 
own  naked  reality.  It  is  a  conscientiously  told  tale.  The  officials,  at  whose  action  we 
are  aghast,  are  justly  treated  ;  made  men  doing  a  stern  duty,  not  ensanguined  monsters. 
There  are  fifty  masterly  pictures,  each  a  pathetic  tale  by  itself ;  every  separate  group 
and  individual  action  diversified  in  emotion,  but  filling  its  place  with  appropriate  feel- 
ing in  the  harmonious  whole  ;  all  subdued  to  an  appropriate  key  of  light,  in  fine  grada- 
tion, centered  outside  the  prison-door,  where  waits  the  cart  which  is  fast  filling  with  its 
dismal  load.  There  is  no  attempt  at  an  imaginative  treatment,  as  in  Couture's  picture, 
but  in  place  of  it  a  picturesque  rendering  of  the  spectacle,  based  upon  a  thorough  study 
of  incidents,  costumes,  persons,  and  locality,  with  copious  variety  of  action  and  ex- 
pression. It  is  devoid  of  academic  artificiality  on  the  one  hand,  and  of  the  other 
extreme  of  conventional  idealism  on  the  other.  Sincerity  and  sympathy  are  joined  to 
unquestioned  skill  and  rare  talent  in  composition.  Delacroix,  by  his  grand  manner, 
writes  his  autograph  all  over  his  work,  and  we  are  led  to  think  as  much  of  the  artist  as 
his  subject.  Poussin,  Ingres,  and  like  men  represent  systems  or  theories,  and  provoke 
comparisons.  Delaroche  excites  the  sentiments  by  his  poetical  sense,  but  his  defective 
style  of  painting  detracts  from  the  enjoyment.  Even  the  Couture  which  hangs  opposite 
recalls  the  studio  overmuch  as  a  composition,  besides  being  spotty  in  high  lights,  and 
securing  brilliancy  at  such  sacrifice  of  unity  of  tone  and  color  as  to  make  it  border  on 
the  sensational  in  general  effect.  Muller  attempts  nothing  that  he  cannot  do  thoroughly 
well,  and  in  a  quiet,  truth-telling  manner.  His  system  gives  all  to  art,  regardless  of 
exhibiting  the  artist.  The  painting  is  not  the  highest  effort,  but  it  is  a  success  in  high 
art  complete  in  its  way.  Muller  paints  history  as  Motley  writes  it,  picturesquely,  and 
with  insight  into  its  emotions."  —  Jarves,  Art  Thoughts. 

Miiller,  Carl.  (Ger.)  Born  at  Darmstadt,  1818.  Professor  at  the 
Academy  of  Dusseldorf.  Pupil  of  his  father,  and  of  the  Academy  of 
Dusseldorf  under  Professor  Sohn.  He  visited  Italy,  and  when  forty 
years  old  was  Professor  in  the  Academy  where  he  had  studied.  His 
pictures  are'  numerous.  His  "  Annunciation,"  in  the  Gallery  of  Dus- 
seldorf, is  well  known  by  an  engraving.  His  most  important  frescos, 
which  are  in  the  church  of  Saint  Apollinarius  at  Remagen,  are  de- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  137 


servedly  much  admired.  He  sent  to  Paris,  in  1855,  "  The  Last  Sup- 
per," "  The  Virgin  and  Child,"  and  "  The  Annunciation,"  before  men- 
tioned ;  and  to  the  Salon  of  1853,  "  The  Holy  Family."  At  the  Lon- 
don Royal  Academy  in  1876  he  exhibited  "  The  Virgin  and  Child 
before  a  Grotto "  and  "  The  Virgin,  Infant  Christ,  and  St.  Joseph 
with  an  Angel." 

Muller,  Victor.   (Ger.)   Born  at  Frankfort  (1829  -  1871).  Pupil 

of  the  Staedel  Institute  ;  studied  also  at  the  Antwerp  Academy,  from 
which  place  he  went  to  Paris  with  a  young  colony  of  German  and 
Dutch  artists,  where  he  remained  for  some  years  and  was  in  the  atelier 
of  Couture.  He  lived  awhile  at  Frankfort,  and  settled  in  Munich  in 
1864.  His  "Hamlet  in  the  Churchyard,"  painted  in  1869,  and  ex- 
hibited at  Munich,  first  gave  him  a  reputation.  In  the  "  Zeitschrift  fur 
bildende  Kunst,"  a  writer  of  his  obituary  says,  "  No  one  has  more 
truly  comprehended  and  depicted  the  inner  spirit  of  this  Prince  of 
our  first  tragedy."  Among  his  works  are,  "  The  Muses  and  Graces," 
a  decorative  work  in  Frankfort,  "  Hero  and  Leander,"  "  Bestraften 
Ehebruch,"  and  several  portraits. 

Mulready,  William,  R.  A.  (Brit.)  Born  in  Ireland  (1786  - 1863). 
Entered  the  schools  of  the  Royal  Academy  in  1800.  He  first  ex- 
hibited, in  1806,  "A  Cottage";  in  1811,  "The  Roadside  Inn"  ;  in 
1813,  "Punch";  in  1815  (when  he  was  elected  Associate  of  the 
Royal  Academy),  "Idle  Boys."  He  was  made  Academician  in  1816. 
Among  his  earlier  works  are,  "  The  Wolf  and  the  Lamb,"  and  "  An 
Interior  of  an  English  Cottage "  (which  belonged  to  George  IV.)  ; 
"  The  Convalescent  "  ;  "  The  Cousin  "  ;  "  The  First  Voyage  "  ;  "  Lend- 
ing a  Bite  "  ;  "  Blackheath  Park  "  ;  "  The  Fight  Interrupted  "  ; 
"The  Barber's  Shop"  and  "Fair  Time"  (1809);  "The  Last  Inn" 
(1835)  ;  "  Crossing  the  Ford  "  (1842)  ;  and  "  The  Young  Brother  " 
(1857),  which  belonged  to  the  Vernon  Collection,  and  is  now  in  the 
National  Gallery,  London.  After  his  death  a  collection  of  his  works 
was  on  exhibition  for  some  time  at  the  South  Kensington  Museum, 
attracting  great  attention  in  London.  Some  of  his  drawings  were 
sold  at  auction  about  the  same  time,  bringing  enormous  prices.  His 
last  picture,  exhibited  at  the  Royal  Academy,  was  "  A  Toy-Seller,"  in 
1862.    Many  of  his  works  have  been  engraved. 

"  Mulready's  '  Sonnet '  has  been  very  justly  described  as  one  of  the  most  purely  and 

tenderly  poetical  of  English  pictures  from  common  life  His  refinement  in  form, 

his  great  sense  of  beauty,  the  poetry  and  invention  of  his  subjects,  combine  to  give 
them  a  peculiarly  strong  and  lasting  hold  over  the  memory  of  those  who  have  studied 
them."  —  Art  Journal,  May,  1876. 

"  Yet  Mulready  must  unhesitatingly  be  placed  among  the  few  really  eminent  and 
thorough  draughtsmen  of  the  British  school.  His  power  over  form  was  almost  com- 
plete, although  not  so  wide  in  range  when  he  painted  '  The  Rattle '  in  1808,  as  when 
he  drew  '  The  Bathers '  in  1849.    His  refinement  is  not  less  marked  in  '  The  Gravel  Pit ' 

[1807]  than  in  *  The  Toy-Seller '  of  1862  If  Mr.  Mulready's  earliest  aim  in  his 

figure-subjects  was  humor,  in  his  latter  it  was  grace.  In  its  essential  purity  no  English 
painter  can,  we  think,  be  se*  above  him.    Great  as  are  the  claims  of  Gainsborough,  Rey- 


138     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


nolds,  Stothard,  and  Leslie,  none  of  tliem  equaled  Mulready  in  that  refined  accuracy 
which  has  been  noticed  as  his  primary  characteristic."  — Palgrave's  Essays  on  Art. 

Mulvany,  George  F.  (Brit.)  Born  in  Dublin  (1809  - 1869).  Son 
of  Thomas  Mulvany,  who  was  the  first  keeper  of  the  Royal  Hiber- 
nian Academy,  and  a  painter  of  some  repute  in  Ireland.  The  son 
evinced  a  taste  for  art  at  an  early  age,  was  educated  in  Dublin,  studied 
in  Italy,  and  was  made  an  Associate  of  the  Royal  Hibernian  Acad- 
emy in  1832.  A  few  years  later  he  was  elected  Academician,  and  on 
the  death  of  his  father,  in  1845,  he  succeeded  him  as  keeper.  He  was 
also  one  of  the  organizers,  and  as  long  as  he  lived  a  director  of  the 
Irish  National  Academy.  He  exhibited  frequently  in  his  native  city, 
and  his  works  were  popular  elsewhere.  Among  his  pictures  may  be 
mentioned  "  First  Love,"  "  The  Peasant's  Grave,"  "  The  White  Man 
cast  on  the  Red  Man's  Shore,"  and  a  popular  portrait  of  Thomas 
Moore,  which  has  been  frequently  engraved.  His  last  work,  a  por- 
trait of  Father  Burke,  was  left  unfinished. 

Munkacsy,  Mihaly.  (Hungarian.)  Born  at  Munkacs,  1846. 
Medals  in  Paris  in  1870  and  '74.  Pupil  of  Knaus.  At  the  Salon  of 
1877  he  exhibited  the  "Story  of  a  Hunt"  and  a  portrait ;  in  1876, 
"The  Interior  of  a  Studio"  ;  in  1875,  "The  Village  Hero,  Hungary"  ; 
in  1874,  the  "  Mont-de-Piete  "  and  "  The  Night  Prowlers."  One  of  his 
finest  works  was  the  illustration  of  an  old  custom  in  Hungary  of  ex- 
posing a  prisoner,  who  had  been  condemned,  to  the  public  for  several 
hours.  In  this  picture  the  different  expressions  of  those  who  have 
come  to  see  the  unfortunate  man  are  very  remarkable.  Three  of  his 
pictures  were  in  the  Paris  Exposition  of  1878.   [Medal  of  honor,  1878.] 

Munn,  George  F.  (Am.)  Born  in  Utica,  N.  Y.,  1852.  First 
studied  art  under  Charles  Calverly  the  sculptor,  and  later  at  the 
schools  of  the  National  Academy,  New  York.  He  went  to  Europe  to 
enter  the  Art  Schools  at  South  Kensington,  where  he  received  a  gold 
medal,  the  first  awarded  to  an  American,  for  a  model  in  clay  of  the 
Farnese  Hercules.  In  the  schools  of  the  Royal  Academy  he  received 
a  silver  medal  for  a  life  drawing  ;  and  he  was  subsequently  in  the 
studio  of  George  F.  Watts  in  1876.  He  has  painted  and  sketched  in 
Brittany,  and  has  exhibited  at  the  Dudley  Gallery,  London,  at  Bir- 
mingham, and  elsewhere.  Among  his  works  are,  "  Wild-Flowers," 
"  Roses,"  "  Meadow-Sweet,"  "  A  Sunny  Day,  Brittany,"  etc. 

"A  flower-picture  here  [Dudley  Gallery,  1875],  notable  for  the  absence  of  manufactur- 
ing deftness,  which  goes  so  far  to  neutralize  the  beauties  of  Fantin's  work,  is  the  large 
and  most  careful  study  (wild-flowers,  meadow-sweet,  the  chief)  to  which  is  attached  a 
new  name,  G.  F.  Munn.  This  is  evidently  a  labor  of  love,  full  of  the  most  minute  and 
loving  study,  such  as  a  man  gives  who  finds  both  intense  pleasure  in  his  work  and  the 
subject  of  it,  such  labor  as  only  young  men  can  give,  for  only  they  are  sustained  by  such 
keenness  and  freshness  of  delight."  —  Tom  Taylor,  in  London  Graphic,  October,  1875. 

Munro,  Alexander.  (Brit.)  Born  in  Scotland  (1825-1871). 
Settled  in  London  in  1848.  In  1849  he  exhibited  for  the  first  time 
at  the  Royal  Academy  several  portrait  busts.    His  first  ideal  work, 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  139 


"  Paolo  and  Francesca,"  in  marble,  was  at  the  Royal  Academy  in 
1852,  and  was  purchased  by  Mr.  Gladstone.  His  "  Hippocrates " 
(R.  A.,  1857)  was  presented  by  John  Ruskin  to  the  new  Museum  at 
Oxford.  Among  his  ideal  works  are,  "  Undine,"  "  The  Lover's  Walk," 
"  Joan  of  Arc,"  "  The  Young  Hunter,"  and  "  The  Sleeping  "Boy."  He 
executed  busts  of  Sir  Robert  Peel,  Gladstone,  and  J.  E.  Millais,  R.  A. ; 
a  statue  of  "  Mary,  Consort  of  William  III."  in  the  House  of  Parlia- 
ment, the  colossal  statue  of  James  Watt  at  Birmingham,  and  statues 
of  Galileo,  Davy,  and  Watt  at  Oxford. 

"  Though  all  his  works  show  talent  of  a  high  order,  Mr.  Munro  especially  excels  in 
female  busts,  and  in  his  representation  of  children,  both  singly  and  in  groups.  In  all 
of  these  is  refined  and  delicate  sentiment,  a  quality  which,  in  the  case  of  the  little  ones, 
is  often  allied  with  graceful  fancy."  —  Art  Journal,  March,  1871. 

Munzig,  G.  C.  {Am.)  Born  in  Boston,  1850.  He  has  spent  his 
professional  life  in  his  native  city.  As  an  artist  he  was  comparatively 
self-taught.  He  is  a  member  of  the  Boston  Art  Club,  and  is  on  the 
Committee  on  Design  for  the  "  School  for  Art  Needlework"  connected 
with  the  Museum  of  Fine  Arts,  Boston.  His  specialty  is  portraits  in 
crayon.  Within  a  few  years  he  has  turned  his  attention  somewhat  to 
oils.  He  has  exhibited  at  Philadelphia,  New  York,  Cleveland,  and 
Boston,  and  his  portraits  are  in  the  possession  of  Dr.  Oliver  Wen- 
dell Holmes,  Winthrop  Sargent,  Frederick  R.  Sears,  Henry  D.  Parker, 
George  Wheatland,  Eben  Jordan,  Mrs.  Oliver  Ames,  Mrs.  Oakes 
Ames,  Mrs.  D.  B.  Van  Brunt,  Miss  Harriet  W.  Preston,  Mr.  James 
Lawrence,  Mme.  Teresa  Careno,  the  late  Mine.  Teresa  Tietjens,  Mme. 
Rudersdorff,  and  others. 

Murray,  Elizabeth.  (Brit)  Member  of  the  Institute  of  Painters 
in  Water-Colors  of  London,  and  of  the  American  Society  of  Water- 
Color  Painters  in  New  York.  She  exhibited  at  the  Institute,  in  1878, 
"  A  Moorish  Saint"  and  "  Music  in  Morocco  "  ;  in  1875,  "  The  White 
Rose";  in  1873,  "The  Greek  Betrothed";  in  1872,  "The  Gypsy 
Queen  "  ;  etc.  At  the  National  Academy,  in  1875,  she  exhibited, 
"  Spanish  Lovers  lighting  Cigarettes  "  (in  oils)  ;  in  1871,  "  Dalmatian 
Peasant  "  ;  in  1870,  "  The  Old  Story  in  Spain  "  (both  in  water-colors). 
"  The  Eleventh  Hour"  (in  water-colors)  brought  $260  at  the  John- 
ston sale  in  New  York  in  1876.    [Died,  1882.] 

Murray,  David.  {Brit.)  Born  in  Glasgow,  1849.  Brought  up  to 
mercantile  pursuits,  he  spent  his  early  youth  in  a  warehouse  in  his 
native  city,  studying  art  in  his  leisure  hours,  but  not  adopting  painting 
as  a  profession  until  within  a  few  years.  His  studio  is  now  (1884)  in 
Glasgow.  To  the  Royal  Scottish  Academy,  in  1878,  he  sent  "  On  the 
Towing-Path,  Thames,"  "The  Intruder,"  "A  Sleepy  Brook,"  "The 
English  Yeoman's  Dwelling,"  etc.    [A.  R.  S.  A.,  1881.] 

Musin,  Francois.  {Belgian.)  Born  at  Ostend.  Medal  at  Phil- 
adelphia, where  he  exhibited  "  Seashore  at  Scheveningen  "  and  the 
"  Harbor  of  Rotterdam  in  Rainy  Weather."  At  Paris,  in  1877,  was 
"  The  Dike  at  Ostend  in  Heavy  Weather." 


140     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Mussini,  Cesare.  (Ital.)  Born  at  Berlin,  1808.  He  early  fixed 
himself  in  Florence,  and  has  acquired  fame  in  his  peculiar  branch  of 
painting.  His  drawing  is  always  correct,  and  his  color  excellent. 
Many  of  his  pictures  have  been  commissions  from  Russia.  Among 
his  works  are,  "  Leonardo  da  Vinci  dying  in  the  Arms  of  Francis  I./' 
"  Tasso  reading  his  Poem  to  Eleonora  d'Este,"  "  Raphael  and  the 
Fornarina,"  the  "  Death  of  Atala,"  and  "  Stanislaus  Poniatowski  giving 
Freedom  to  the  Poles."  The  portrait  of  this  painter  is  in  the  auto- 
graph collection  of  the  Uffizi. 

Mussini,  Luigi.  {Ital.)  Born  at  Berlin,  1813.  Pupil  of  his 
brother  Cesare.  Director  of  the  Academy  of  Siena.  His  first  work, 
"  Sacred  Music,"  proved  him  to  have  unusual  merit.  In  correctness 
of  drawing  he  is  unsurpassed,  and  his  compositions  are  simple  and 
truthful.  They  suggest  the  works  of  the  cinque-cento  painters.  Among 
his  works  are,  "  Eudoro  and  Cimodocea  "  (in  the  gallery  of  modern 
paintings  in  Florence),  the  "Christian  Martyr"  (in  the  Cathedral  of 
Siena),  "  The  Money -Changers  in  the  Temple,"  the  "  Last  Day  of 
Nero,"  the  "  Triumph  of  Truth,"  etc.  Sig.  Luigi  Mussini  is  considered 
one  of  the  best  painters  in  Italy,  and  is  at  the  head  of  his  school. 
Since  he  has  presided  over  the  Academy  of  Siena,  many  fine  artists 
have  graduated  there.  His  portrait  is  in  the  autograph  collection  in 
the  Uffizi.  To  the  Paris  Salon,  in  1878,  he  sent  "  Page  siennois  de  la 
Tortue,  —  XVe  siecle." 

Mutrie,  Martha  D.  and  Annie  F.  (Brit.)  Natives  of  Man- 
chester. Settled  in  London  in  1854,  exhibiting  annually  at  the 
Royal  Academy  flower-pieces,  the  works  of  both  sisters  being  very 
popular.  Miss  Mutrie  sent  to  the  Royal  Academy,  in  1860,  "  Fungus"; 
in  1861,  "Wild  Roses";  in  1864,  "Garden  Flowers";  in  1868, 
"Roses";  in  1872,  "In  the  Flower- Market "  ;  in  1875,  "  The  Cottage 
Window"  ;  in  1877,  "  Spring  Flowers." 

Miss  Annie  F.  Mutrie  exhibited,  in  1860,  "  Where  the  Bee  Sucks  " ; 
in  1861,  "York  and  Lancaster";  in  1863,  "Autumn";  in  1871, 
"The  Balcony"  ;  in  1874,  "  My  First  Bouquet";  in  1875,  "Farewell, 
Summer";  in  1876,  "The  Evening  Primrose";  in  1877,  "Wild- 
Flowers  of  South  America." 

Both  of  these  ladies  were  "  commended  for  great  merit  in  genre  paint- 
ing" by  the  judges  at  the  Centennial  Exhibition  in  Philadelphia  in 
1876. 

"  These  ladies  rank  as  excellent  fruit  and  flower  painters.  A  fault  has  been  found 
with  their  subjects  that  they  are  too  often  cultivated  flowers,  and  that  whether  garden 
or  wild  flowers  they  are  apt  to  be  arranged  arbitrarily  and  artificially."  —  Mrs.  Tytler's 

Modem  Painters. 

"Miss  M.  D.  Mutrie's  'In  the  Cottage  Window'  [R.  A.,  1875],  a  beautiful  study  of 
flowers,  is  one  of  the  brightest  and  most  truthful  little  studies  from  Nature  in  this  year's 
Exhibition."  —  Art  Journal,  July,  1875. 

MacWhirter,  John,  A.  R.  A.  (Brit.)  Born  near  Edinburgh,  1839. 
He  studied  under  Robert  Scott  Lauder,  and  practiced  his  profession  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  141 


Edinburgh,  until  1869,  when  he  opened  a  studio  in  London.  He 
devotes  himself  to  landscape-painting,  selecting  his  scenes  frequently 
in  the  Highlands  of  the  West  of  Scotland.  He  exhibits  at  the  Royal 
Academy  and  at  the  Royal  Scottish  Academy,  and  is  an  Associate 
Member  of  both  these  institutions.  Among  his  works  are,  "  The  Mail 
from  the  North,"  "  Glencoe,"  «  The  Falls  of  Tummel "  ;  etc.  To  the 
Royal  Scottish  Academy,  in  1878,  he  sent  "  Thunder-Storm  on  the 
Prairie  "  and  "  Salt  Lake  City,  Utah  " ;  to  the  Royal  Academy,  the 
same  year,  "  The  Three  Graces  "  and  "  The  Vanguard."  His  "  Into 
the  Depths  of  the  Forest,"  "  Out  iiL  the  Cold  "  and  "  A  Fisherman's 
Haven  "  were  at  the  Paris  Exposition  of  1878. 

Naftel,  Paul  J.  (Brit.)  English  water-color  artist,  for  some 
years  a  resident  of  Guernsey,  at  present  living  in  London.  He  is  a 
member  of  the  Society  of  Painters  in  Water-Colors,  sending  annually 
from  ten  to  fifteen  pictures  to  its  exhibitions  ;  among  others,  "  Near 
the  Grange,  Borrowdale,  Cumberland,"  "  Morning  at  Penllergare, 
South  Wales,"  "  Seaweed-Gathering,  Guernsey,"  "  Capri,  from  the 
Pine  Valley,  Sorrento,"  "  First  Snow  on  Blockmount,"  "  The  Mole 
near  Twickenham,"  "  Killarney,  Ireland,"  etc.  His  "  Violet-Gather- 
ing at  Bordighera  in  December  "  and  "  Near  Lismore,  County  Water- 
ford  "  were  at  the  Grosvenor  Gallery  in  1878.  To  the  Paris  Exposi- 
tion, the  same  year,  he  contributed  "  Views  of  the  Isle  of  Arran  and 
of  Killarney." 

Naish,  John  George.  (Brit.)  Born  in  Sussex,  1824.  Entered 
the  Royal  Academy  in  1846,  exhibiting  the  same  year  his  first  picture, 
entitled  "  Troops  departing  for  India."  In  1850  he  went  to  the  Con- 
tinent, studying  and  working  in  the  galleries  of  the  Louvre,  Paris, 
in  Bruges,  Antwerp,  and  elsewhere,  returning  to  England  the  next 
year.  Among  his  earlier  works  are,  "  Water- Nymphs  "  and  "  Hymn 
to  the  Rising  Sun,"  in  1849  ;  "Mermaids"  and  "Titania,"  in  1850  ; 
"  The  Power  of  Music,"  in  1854  ;  "  Fairies  Returning  "  and  "  The 
Swoon  of  Endymion,"  in  1855;  "  Midsummer  Fairies,"  in  1856  (exhib- 
ited both  at  the  Royal  Academy  and  the  British  Institution) ;  "  Influ- 
ence of  the  Soul,"  in  1858  ;  "Ode  to  the  Northeast  Wind,"  in  1860  ; 
"  Rough  Hands  and  Warm  Hearts  "  and  "The  Last  Tack  Home,"  in 
1864  ;  and  "  Better  than  Gold,"  in  1865.  About  1860  he  altered  the 
style  of  his  paintings,  leaving  the  ideal  and  classical  figures  for  marine 
subjects.  In  1867  he  sent  to  the  Royal  Academy,  "  The  Mouth  of  the 
Harbor";  in  1870,  "Enoch  Arden "  ;  in  1871,  "A  North  Devon 
Cove"  ;  in  1873,  "The  most  Northerly  Point  of  Devon"  ;  in  1874, 
"Homeward  Bound";  in  1876,  "The  Night-Catch,  —  on  Board  a 
Trawler  in  Barnstaple  Bay";  in  1877,  "Life-Boat  returning,  —  a  Sea 
to  Starboard  "  ;  in  1878,  "  A  Summer  Sea  "  and  "  The  Devonshire 
Trawlers." 

"  A  grizzled  sailor  and  his  son  are  here  seen  picturesquely  sheltered  beneath  the 
rigging  of  their  boat,  and  looking  with  fixed,  eager  eyes  on  the  scattered  roofs  of  the 


142     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


famous  village  of  Clovelly[' Last  Tack  Home,'  R.  A.,  1864].  Everything  is  drawn  with 
that  conscientious  fidelity  to  which  Mr.  Naish  has  accustomed  us  in  his  work,  while  he 
lias  given  it  greater  interest  by  his  introduction  of  the  human  figure."  —  Palgrave's 
Essays  on  Art. 

"  Certainly  there  was  no  truer  or  finer  combination  of  land  and  ocean  among  the  pic- 
tures of  that  year  than  the  view  of  the  town  ['  Ilfracombe,'  R.  A.,  1S70],  in  which  the 
painter  had  been  a  resident  for  some  time.  It  afterwards  gained  a  gold  medal  at  the 
Crystal  Palace.  ....  Naish  disdains  to  make  any  compromise  with  Nature  ;  he  repre- 
sents her  as  she  appears  to  his  eye,  but  with  something  more  than  mere  typographical 
accuracy,  for  to  this  quality  must  be  added,  as  a  general  rule,  poetic  feeling,  adapting  it- 
self to  the  circumstances  of  the  subject,  and  originality  of  treatment.  ....  As  a  color- 
ist,  moreover,  Mr.  Naish  distinguishes  himself."  — Art  Journal,  November,  1875. 

Nakken,  W.  C.  (Dutch.)  Of  The  Hague.  Medal  at  Philadel- 
phia, where  he  exhibited  "  Haymaking  in  Normandy."  Mr.  Weir 
especially  commends  this  picture  in  his  report.  At  the  Paris  Expo- 
sition, 1878,  he  exhibited  "  fitalon  Normand "  and  "  The  Stable  of 
the  Inn." 

Nanteuil,  Celestin.  (Fr.)  Born  at  Rome,  of  French  parents 
(1813-1873).  Chevalier  of  the  Legion  of  Honor.  His  family  re- 
moved to  Paris  when  he  was  still  an  infant.  He  studied  under  Lang- 
lois  and  Ingres,  and  then,  in  1827,  entered  FEcole  des  Beaux-Arts, 
where  he  became  a  sort  of  captain  among  some  turbulent  students. 
When  a  revolt  occurred  Nanteuil  was  expelled  from  the  school,  which 
made  him  a  hero  with  a  class,  and  he  became  known  as  one  of  the 
leaders  of  the  reformers  of  art,  as  they  were  called.  For  some  years 
he  was  employed  in  etching  for  romantic  literature.  In  1848  he  first 
sent  to  the  Salon  a  work  worthy  of  notice,  "  A  Bay  of  Sunshine," 
which  was  much  admired.  He  devoted  himself  to  genre  subjects, 
and  exhibited  each  year.  His  "  Souvenirs  of  the  Past "  and  "  The 
Future  "  are  well  known  from  lithographs  by  himself.  Nanteuil  exe- 
cuted many  plates  for  artistic  publications.  He  traveled  much  and 
made  numerous  sketches.  In  1870  he  was  placed  at  the  head  of  the 
School  of  Design  at  Dijon,  and  appointed  Conservator  of  the  Mu- 
seum of  that  city.  Since  his  death  two  of  his  water-colors,  "  Hunting- 
Dogs  in  Bepose  "  and  "  The  Fawn,"  have  been  placed  in  the  Luxem- 
bourg. 

Nash,  Joseph.  (Brit.)  Born  about  1812.  An  artist  in  water- 
colors,  making  as  his  specialty  architectural  views  and  antique  ex- 
teriors and  interiors,  English  and  Continental.  He  first  exhibited  in 
public  in  1835.  Among  the  better  known  of  his  early  drawings  are, 
"  The  Queen's  Visit  to  Lincoln's  Inn  Hall,"  in  1846  ;  "  The  Interior 
of  the  Crystal  Palace,"  in  1851  ;  "  Rochester,"  "  Roman  Cathedral," 
"  Charles  V.  visiting  Francis  I.  during  his  Confinement,"  in  1855  ; 
"  Chapel  of  Edward  the  Confessor  at  Westminster,"  in  1866  ;  "  Red 
Room  of  Louis  Philippe  at  Claremont,"  in  1867  ;  "  The  Brown  Gal- 
lery, Knole,  Kent,"  in  1872  ;  "  A  Dinner- Party  under  the  early 
Plantagenets "  and  "The  Thumb  Stocks,"  in  1873. 

He  has  been  for  some  time  a  member  of  the  Society  of  Painters  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  143 


Water-Colors.  In  1838  he  published  a  volume  entitled  "Archi- 
tecture in  the  Middle  Ages,"  with  lithographic  illustrations,  and  a 
few  years  later,  in  four  series,  "  The  Mansions  of  England  in  the 
Olden  Time."  He  has  also  furnished  illustrations  for  the  works  of 
Shakspere,  Scott,  and  other  standard  authors.    [Died,  1878.] 

Nast,  Thomas.  (Am)  Born  in  Landau,  Bavaria,  1840.  Taken 
to  America  in  1846.  Early  displayed  artistic  talents,  but,  with  the 
exception  of  a  few  months'  tuition  under  Kaufmann,  is  entirely  self- 
taught.  He  began  his  professional  career  as  a  draughtsman  for  il- 
lustrated journals  as  early  as  1855.  In  1860  he  went  to  Europe, 
followed  the  army  of  Garibaldi,  sending  sketches  to  London  and 
American  pictorial  papers  ;  returned  to  America  in  1862,  and  during 
the  American  Civil  War  sent  many  graphic  drawings  of  war  scenes  to 
the  Harpers'  periodicals,  attracting  great  attention  on  both  sides  of  the 
Atlantic.  He  did  not  develop  into  a  caricaturist  until  the  close  of  the 
war,  his  later  work  being  chiefly  in  that  direction.  Although  not  a 
member  of  any  academy  or  society  of  the  country,  he  is  an  occasional 
contributor  to  the  public  exhibitions  in  New  York  and  elsewhere, 
sending  to  the  National  Academy,  in  1868,  "  The  Last  Drop  "  ;  in 
1870,  "  The  Departure  of  the  Seventh  Regiment,"  belonging  to  James 
H.  Ingersoll. 

"  Judging  from  wood-cuts  in  Harper's  Weekly  of  compositions  relating  to  the  various 
stages  of  the  war,  Nast  is  an  artist  of  uncommon  ability.  He  has  composed  designs,  or 
rather  given  hints  of  his  ability  to  do  so,  of  allegorical,  symbolical,  or  illustrative  char- 
acter, far  more  worthy  to  be.  transferred  in  paint  to  the  walls  of  our  public  buildings 
than  anything  that  has  as  yet  been  placed  on  them.  Although  hastily  got  up  for  a  tem- 
porary purpose,  they  evince  originality  of  conception,  freedom  of  manner,  lofty  appre- 
ciation of  national  ideas,  and  action,  and  a  large  artistic  instinct."  —  Jarves,  Art  Idea. 

"  Nast  has  proved  one  of  the  most  spirited  and  authentic  draughtsmen  of  the  battles 
and  other  scenes  incident  to  the  late  Civil  War.  His  illustrations  for  Harper's  Weekly 
show  talent  and  fidelity.  He  is  an  original  designer,  and  exhibits  a  remarkable  grasp  of 
the  great  questions  at  issue."  —  Tuckerman's  Book  of  the  Artists. 

"  What  a  gift  is  this  year's  volume  of  Harper's,  setting  New  York  and  its  affairs  so 
wonderfully  before  us  !  It  would  do  you  good  to  know,  if  I  could  tell  you,  the  enjoy- 
ment your  great  and  glorious  Nast  is  giving  in  this  valley.  I  sent  the  number  to  Fox 
How,  when  W.  E.  Forster  was  there,  and  they  borrowed  it  again  for  the  Stanleys  and 
Lady  Richardson.  The  favorite,  the  one  supremely  extolled,  is  that  of  the  Romish 
Crocodile  and  the  children.  The  Dean  [Stanley]  was  delighted  with  it."  — Harriet 
Martineau's  Autobiography,  Vol.  II. 

Navez,  Francois  Joseph.  (Belgian.)  Born  at  Charleroi  (1787 
-1869).  Member  and  Professor  of  the  Royal  Academy  of  Belgium. 
Correspondent  of  the  Institutes  of  France  and  Holland.  Chevalier  of 
the  Orders  of  the  Lion  of  Belgium,  of  Leopold,  of  William,  and  of  the 
Legion  of  Honor.  Member  of  various  academies  and  important  art 
associations.  Pupil  of  Francois  and  David.  His  "  Hagar  in  the 
Desert "  is  at  the  Brussels  Museum  ;  his  "  Raising  of  the  Sulamite's 
Son "  and  the  "  Meeting  of  Isaac  and  Rebecca  "  are  at  The  Hague  ; 
an  "  Italian  Mother  with  a  Sick  Child  "  is  at  the  National  Gallery,  Ber- 


144     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lin  ;  "  The  Prophet  Samuel,"  in  the  Museum  at  Haarlem.  His  works 
are  also  seen  in  churches  in  Brussels,  Amsterdam,  etc.  His  portraits 
were  much  admired.  He  painted  one  of  William  of  Holland  for  the 
Duke  of  Wellington. 

Neagle,  John.  (Am.)  (1799-1865.)  A  portrait-painter,  com- 
paratively self-taught.  He  was  apprenticed  to  a  coach-painter  in 
Philadelphia.  About  1818  he  began  the  practice  of  the  higher 
branches  of  his  profession  in  that  city,  settling  in  Lexington,  Ky., 
and  subsequently  in  New  Orleans.  His  best-known  work,  "  Patrick 
Lyon  the  Blacksmith,"  in  the  Boston  Athenseum,  was  painted  in  1826. 
He  was  a  son-in-law  of  the  artist  Sully,  from  whom,  in  his  early  years, 
he  received  much  encouragement  and  help.  The  best  part  of  his  pro- 
fessional life  was  spent  in  Philadelphia,  where  are  still  preserved  many 
of  his  pictures,  notably,  the  portrait  of  Washington  in  Independence 
Hall,  of  Henry  Clay  in  the  Union  League  Club,  and  of  Henry  Carey 
in  the  Academy.  He  was  President  of  the  Philadelphia  Artists'  Fund 
Society  for  many  years.  A  valuable  portrait  of  Gilbert  Stuart  by 
Neagle  is  now  in  the  Boston  Athenaeum.  It  was  exhibited  at  the 
Centennial  Exhibition  of  1876. 

Neal,  David.  (Am.)  Born  in  Lowell,  Mass.,  1837.  He  went  to 
Munich  in  1861,  where  he  has  since  lived.  In  1862  he  entered  the 
Boyal  Academy  of  Bavaria,  where  he  studied  from  the  antique  for 
two  years,  later  becoming  a  pupil  of  his  father-in-law,  the  Chevalier 
Ainmuller.  In  1869  he  entered  the  studio  of  Piloty,  remaining 
until  1876,  changing  his  style  of  work  and  devoting  himself  entirely 
to  figure-painting  at  that  master's  suggestion.  Previous  to  this,  he 
painted  several  interiors,  the  most  important  being  "  The  Chapel  of 
the  Kings,  Westminster  Abbey  "  (belonging  now  to  Francis  Cutting 
of  Boston)  and  "  St.  Mark's,  Venice  "  (now  the  property  of  Samuel 
Nickerson,  President  of  the  First  National  Bank  of  Chicago) ;  both  of 
these  were  at  the  International  Art  Exhibition  at  Munich  in  1869, 
and  later  at  the  National  Academy  of  New  York.  In  1876  Mr.  Neal 
was  awarded  the  great  medal  of  the  Royal  Bavarian  Academy  of 
Fine  Arts  for  his  "  First  Meeting  of  Mary  Stuart  and  Rizzio."  This 
medal  is  the  highest  in  the  gift  of  the  Academy,  and  Mr.  Neal  the 
first  American  upon  whom  it  has  been  bestowed.  This  picture  was 
later  in  the  collection  of  D.  0.  Mills,  President  of  the  Bank  of  Cali- 
fornia, and  was  exhibited  at  the  Munich  Art  Union,  afterwards  in 
London,  later  in  Boston,  Lowell,  Chicago,  and  elsewhere  in  the  United 
States.  It  has  been  extensively  photographed.  Among  his  works 
are,  "  Return  from  the  Chase  "  (belonging  to  John  Bloodgood  of  New 
York),  exhibited  in  Munich  for  the  benefit  of  the  wounded  in  the 
Franco-German  war,  and  at  the  National  Academy,  New  York  ; 
"  James  Watt,"  a  large  historical  picture  at  the  Royal  Academy,  Lon- 
don, in  1874  (belonging  to  Sir  B.  S.  Phillipps,  formerly  Lord  Mayor  of 
London)  ;  "  The  Burgomaster  "  ;  and  several  portraits  and  ideal  heads. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  145 


The  "  Wartburg,"  a  monthly  journal  of  the  Munich  Archaeological 
Societj7-,  edited  by  the  celebrated  art  critic,  Dr.  Forster,  says  (No.  9, 

1876)  :  — 

"  The  greatest  interest  was  created  at  the  Art  Union  by  a  historical  picture  of  con- 
siderable dimensions  by  David  Neal.  This  highly  gifted  artist,  who  is  still  young,  an 
American  by  birth,  and  a  pupil  of  Piloty,  took  as  a  subject  for  his  picture  the  first 
meeting  of  Marie  Stuart,  the  brilliant  and  lovely  as  well  as  inconstant  Queen  of  Scots, 
with  the  singer  Rizzio.  The  artist  represents  the  object  of  so  much  poetic  lore  in  the 
bloom  and  splendor  of  her  youth  ;  the  period  chosen  being  when  she  was  at  the  height 
of  her  fortunes.  ....  The  scene  is  excellently  well  conceived  and  represented  in  a  most 
masterly  manner  ;  the  characters,  particularly  those  of  the  principal  personages,  are  well 
carried  out  with  equally  as  much  knowledge  of  the  times,  as  well  as  a  love  and  feeling  for 
the  subject.  In  another  column  we  give  a  notice  of  the  honorable  distinction  which  has 
been  conferred  upon  Mr.  Neal  on  the  part  of  the  Royal  Academy  for  this  prominent  work. " 

Referring  to  a  portrait  (Mrs.  Eaymond)  exhibited  at  Munich,  the 
"  Zeitschrift  fur  bildende  Kunst  "  says  :  — 

"  From  David  Neal,  a  pupil  of  Piloty,  we  have  a  lady's  portrait  which  is  to  so  high  a  de- 
gree spirited  and  fine  in  the  conception,  and  is  executed  with  so  much  bravour,  that  it  would 
do  honor  to  his  master,  and  certainly  evinces  a  finer  feeling  for  color  than  is  possessed 
by  even  Piloty  himself." 

"  In  England  Mr.  Neal  has  earned  a  place  in  the  high  ranks  by  his  'James  Watt,'  and 
his  '  Mary  Stuart  and  Rizzio,'  that  was  exhibited  in  this  country,  has  removed  all  ques- 
tions here  as  to  his  great  merits.  Looking  at  these  two  paintings,  one  is  impressed  with 
the  power  of  a  deep-thinking  artist.  He  has  not  devised  a  scene  merely  to  show  off  his 
technical  skill ;  he  saw  deeper,  and  represents  more  than  it  would  be  easy  to  define  in 

words  It  would  not  be  amiss  to  analyze,  also,  his  'Mary  Stuart  and  Rizzio.'  We 

should  find  in  it  the  true  elements  of  historical  painting.  The  Queen,  followed  by  her 
maids  and  Darnley,  has  descended  a  massive  staircase,  and  has  turned  on  the  lower 
landing,  when  she  sees  Rizzio  reclining  asleep  on  a  carved  wood  chest,  his  mandolin  by 
his  side.  The  Queen's  fixed  look  of  surprise,  her  equivocal  gesture,  are  significant. 
Now  we  have  the  clew  to  all  the  rest ;  since  it  is  known  that  Rizzio  has  been  taken  into 
the  Queen's  household  service,  the  love,  and  the  complications,  and  the  murder  follow, 
as  night  the  day.    This  is  high  art !  "  —  Chicago  Tribune,  March  24,  1878. 

Neff,  Timoleon  Charles  de.  (Russian.)   Born  at  Korkulla  (1807  - 

1877)  .  Court  Painter  and  Member  of  the  Academie  des  Beaux- Arts  at 
St.  Petersburg.  Studied  at  Dresden  and  Rome.  In  1826  he  settled 
in  St.  Petersburg,  and  soon  became  distinguished.  Many  of  his  por- 
traits are  of  the  members  of  the  Imperial  Family.  In  the  Hermitage 
at  St.  Petersburg  there  are  two  pictures  by  Neff  of  "  Nymphs  Bath- 
ing." There  are  more  copies  made  of  these  pictures  than  of  any 
other  works  in  that  gallery. 

Nehlig,  Victor,  N.  A.  (Am.)  Born  in  Paris,  1830.  Studied 
art  in  his  native  city  under  Cogniet  and  Abel  de  Pujol,  and  settled  in 
America  in  1850.  He  opened  a  studio  in  New  York,  was  quickly 
elected  an  Associate  of  the  National  Academy,  and  made  an  Acade- 
mician in  1870,  when  he  exhibited  "  The  Bravo."  One  of  the  results 
of  a  visit  to  Cuba  was  his  "  Mahogany  Cutting  "  (belonging  to  John 
C.  Force),  which  was  at  the  National  Academy  in  1871,  since  which 
time  he  has  not  exhibited  in  that  gallery.  He  visited  Europe  in 
1872. 

VOL.  II.  7  J 


146     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Among  his  works  are  "The  Artist's  Dream,"  "  The  Armorer  of  the 
Olden  Time,"  "  Gertrude  of  Wyoming,"  "  Pocahontas,"  "  Hiawatha," 
"  The  Captive  Huguenot,"  etc. 

Nemoz,  Jean-Bap tiste-Augustin.  (Fr.)  Born  at  Thodure. 
Medal  in  1877.  Pupil  of  Picot  and  Cabanel.  At  the  Salon  of  1877 
he  exhibited  "Theseus  going  to  fight  the  Minotaur"  ;  and  in  1878, 
"  Paradise  Lost." 

Neuber,  Fritz.  (Ger.)  Born  at  Cologne,  1837.  Pupil  of  Stephan. 
He  has  passed  some  time  in  several  German  cities,  and  has  worked 
very  quietly  in  a  manner  quite  his  own.  He  lives  in  Hamburg. 
Among  his  works  are  his  statues  of  Peter  Vischer,  Gustavus  Adol- 
phus,  Barbarossa,  Handel,  Bach,  Neander,  Schleiermacher,  Luther, 
Twelve  Apostles,  etc.  His  works  in  the  Nicolas  Church  brought  him 
into  much  notice,  and  he  received  numerous  commissions  for  busts 
and  other  work  from  private  individuals. 

Neuville,  Alphonse  de.  (Fr.)  Born  at  Saint-Gmer,  1836.  Cheva- 
lier of  the  Legion  of  Honor.  Member  of  a  rich  family,  he  had  a  fine 
education,  and  left  school  with  honors.  His  parents  intended  him  for 
an  official  career,  but  he  declared  himself  only  ready  to  join  the  army, 
and  in  spite  of  all  obstacles  he  entered  the  preparatory  school  of  Lori- 
ent.  The  Professor  of  Design  at  this  school,  familiarly  known  as  Papa 
Duhousset,  quickly  remarked  the  astonishing  skill  of  De  Neuville  in 
drawing.  Naturally  the  teacher  took  great  pleasure  and  pride  in  teach- 
ing him,  and  often  declared  to  the  young  fellow.  "Quoique  tu  fasses, 
rappelle-toi  que  tu  ne  seras  jamais  qu'un  peintre."  He  next  went  to 
Pai'is  and  entered  the  law  school,  for  the  sake  of  peace  with  his  family. 
He  remained  three  years,  and  passed  most  of  his  time  at  the  military 
school  or  at  the  Champs-de-Mars,  sketching,  and  making  himself  inti- 
mately familiar  with  all  of  a  soldier's  life  which  could  there  be  learned. 
When  he  next  returned  home,  he  declared  that  he  would  be  a  painter 
or  nothing.  After  a  year  of  opposition  his  father  went  with  him  to 
Paris  to  consult  some  artists  on  the  prospect  for  the  young  man. 
Bellange,  Yvon,  Picot,  all  discouraged  him,  and  advised  his  return  to 
the  home  he  had  left.  But  the  young  fellow  believed  in  his  "lucky 
star,"  and  took  a  small  studio  and  went  to  work.  His  first  picture, 
"  The  Gervais  Battery,"  was  accepted  at  the  Salon  of  1859  and  took 
a  medal  of  the  third  class.  Just  then  Delacroix,  who  was  in  his  de- 
cline, became  the  friend  of  the  artist,  and,  while  his  doors  were  closed 
to  most  people,  De  Neuville  spent  many  hours  with  him.  In  1860 
the  debutant  received  a  commission  to  paint  "  The  Taking  of  Naples 
by  Garibaldi,"  for  the  Cercle  Artistique.  He  went  to  Italy,  and  the 
picture  which  he  brought  back  was  bad  enough  to  satisfy  a  bitter 
enemy  !  In  1861  his  "  Chasseurs  of  the  Guard  "  took  a  second  medal 
at  the  Salon.  From  this  time  attention  was  turned  to  De  Neuville, 
and  he  held  a  place  among  French  military  painters.  He  received, 
however,  but  few  orders,  and  was  obliged  to  make  wood-cuts  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  147 


illustrated  publications,  in  order  to  live.  In  this  department  he  has 
been  nearly  as  fruitful  as  Gustave  Dore.  His  picture  of  the  "Attack 
of  the  Streets  of  Magenta"  (1864)  was  very  successful,  and  was 
bought  by  the  State  for  the  city  of  Saint-Omer.  His  picture  of  1868 
was  purchased  for  the  Museum  of  Lille,  —  it  was  "  The  Chasseurs 
crossing  the  Tchernaia  on  Foot."  Naturally  the  war  of  1870-71 
was  an  inspiration  to  this  painter,  and  the  pictures  he  has  since 
painted  have  placed  him  in  the  first  rank  among  his  fellows.  "  The 
Bivouac  before  Bourget"  (1872)  is  at  the  Museum  of  Dijon.  "  The 
Last  Cartouches  at  Balan"  (1873)  was  judged  worthy  of  the  Cross  of 
the  Legion  of  Honor.  In  1874  he  exhibited  "  The  Attack  by  Fire 
on  a  Barricaded  House  at  Villersexel."  This  is  considered  his  best 
work  by  many.  Paul  Mantz  calls  it  a  "  masterpiece."  De  Neuville, 
in  his  frequent  journeys,  makes  some  sketches  not  "  in  his  line,"  as 
one  may  say,  and  has  painted  a  few  subjects,  such  as  the  "  Recolte  du 
Varech,"  which  are  also  excellent  pictures.  At  the  Salon  of  1877  he 
exhibited  "An  Episode  in  the  Battle  of  Forbach,  August  6,  1870" 
and  a  portrait ;  in  1875,  "  A  Surprise  in  the  Environs  of  Metz,  Au- 
gust, 1870."  In  the  gallery  of  W.  T.  Walters  of  Baltimore  is  his 
"  Engineer  Officer  on  a  Keconnoissance." 

"De  Neuville  has  not  perhaps  the  exactness  and  careful  timidity  of  Detaille  ;  he  is 
not,  like  him,  the  pupil  of  Meissonier  and  a  miniaturist  by  profession  ;  but  he  has  free- 
dom, audacity,  movement,  truth  of  physiognomy,  truth  of  gesture,  truth  of  color  at  the 
end  of  his  brush,  and  all  without  visible  effort.  In  a  word,  he  has  the  genius  of  action, 
that  entirely  French  quality  which  one  cannot  exact  from  a  Dutchman  like  Detaille."  — 
Ernest  Duvergier  de  Hauranne,  Revue  des  Deux  Mondes,  June,  1874. 

Newell,  Hugh.  (Am.)  Born  in  Ireland.  Brought  up  in  Belfast, 
and  educated  at  Queen's  College  there.  He  studied  art  in  Antwerp, 
also  in  Paris  under  Couture,  and  later,  in  London,  in  the  South  Ken- 
sington Schools.  At  the  age  of  twenty-one  he  came  to  the  United 
States,  settling  in  Baltimore,  and  receiving  both  the  gold  and  silver 
medals  of  the  Maryland  Institute.  His  professional  life  has  been 
spent  in  Baltimore  and  Pittsburg,  Pa.,  and  his  paintings  have  been 
exhibited,  and  are  owned  in  those  cities,  in  Philadelphia  and  New 
York.  Since  1870  he  has  been  Principal  of  the  Pittsburg  School  of 
Design  for  Women,  and  was  awarded  a  diploma  for  the  work  of  this 
school  from  the  judges  of  the  Centennial  Exhibition  of  1876  in  Phil- 
adelphia. His  "  Smithy "  was  at  the  National  Academy  of  New 
York  in  1873;  his  "  In  the  Cottage  Window  "  and  "  Basket  of  Grapes," 
in  1878. 

Newman,  Henry  R.  (Am.)  A  water-color  artist,  who  has  lived 
for  many  years  in  Florence.  He  paints  a  variety  of  subjects,  and  is 
very  happy  in  his  flower-pieces.  As  a  teacher,  he  has  been  very  suc- 
cessful and  fashionable,  and  well  merits  the  praise  bestowed  upon  his 
work.  He  exhibited  in  Florence,  in  1878,  "  A  Study  of  Pink  and 
White  Oleanders  "  and  "Grapes  and  Olives,"  and  sent  to  the  Gros- 


148     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


venor  Gallery,  London,  the  same  year,  "  Flowers  "  and  "  An  Architec- 
tural Study."  Several  of  his  Florentine  street  scenes  belong  to  Lord 
Spencer.  Of  a  drawing  of  Santa  Maria  Novella,  Florence,  by  Mr. 
Newman,  Ruskin  wrote  to  the  artist  in  1877  :  "  I  have  not  for  many 
and  many  a  day  seen  the  sense  of  tenderness  and  depth  of  color  so 
united,  still  less  so  much  fidelity  and  affection  joined  with  a  power  of 
design  which  seems  to  me,  though  latent,  very  great.  To  have  made  h, 
poetic  harmony  of  color  out  of  an  omnibus-stand  is  an  achievement  aL 
the  greater  in  reality  because  not  likely  to  have  been  attempted  with 
all  one's  strength." 

Newton,  Sir  William  John.  (Brit)  (1785-1869.)  Miniature- 
painter  to  the  Queen,  receiving  the  honor  of  Knighthood  in  1837.  In 
his  branch  of  the  profession  he  was  popular  and  much  patronized  by 
the  Royal  and  Noble  Families.  He  contributed  a  large  number  of 
works  to  the  Royal  Academy  yearly,  until  1863.  "  The  Christening 
of  the  Prince  of  Wales  at  Windsor  "  (which  was  at  the  Royal  Academy 
in  1845)  was  his  largest  and  most  important  picture.  It  was  painted 
on  ivory,  and  attracted  much  attention. 

Newton,  Mrs.  Charles  T.  (Brit.)  (1832-1866.)  Daughter  of 
J ohn  Severn,  an  artist.  She  displayed  remarkable  talents  for  art  at 
an  early  age,  and  studied  under  George  Richmond,  devoting  herself  to 
portrait  and  figure  painting  in  water  and  oil.  In  1861  she  was  married 
to  C.  T.  Newton,  Superintendent  of  Antiquities  at  the  British  Museum, 
and  turned  her  attention,  during  the  few  remaining  years  of  her  life, 
to  drawing  from  the  Roman  and  Greek  sculptures  and  vases  in  that 
institution.  Among  her  paintings  may  be  mentioned,  "  Elaine," 
"  Sebaste,"  "  Levantine  Lady,"  "  Jewess  of  Smyrna,"  "  Letty,"  etc. 
She  exhibited  a  portrait  of  herself  at  the  Royal  Academy  in  1863. 

Newton,  Alfred  P.  (Brit.)  Born  in  1835.  A  graduate  of  no 
school  of  painting,  and  comparatively  self-taught,  he  has  studied  di- 
rectly from  nature  in  Wales,  Scotland,  and  Italy,  devoting  himself  to 
landscapes,  chiefly  in  water-colors.  He  was  elected  a  member  of  the 
Society  of  Painters  in  Water-Colors  in  1860,  upon  the  exhibition,  in 
its  gallery,  of  his  first  works.  Among  his  more  important  pictures 
are,  "  Mountain  Gloom,"  "  Mountain  Glory,"  "  Mystery  and  Immen- 
sity," "  Nature's  Merriments  "  (in  oil),  "  Declining  Day,"  "  The  First 
Approach  of  Winter,"  etc.  His  "  Mountain  Gloom  "  and  "  Left  by 
the  Tide  "  were  at  the  Philadelphia  Exhibition  in  1876,  gaining  a 
medal.  To  Paris,  in  1878,  he  sent  "  Left  by  the  Tide."  [Died,  1883.] 

"  It  is  literally  certain  that  no  artist  whatever,  before  our  day,  could  have  drawn  that 
mountain  ['Glencoe']  with  such  truth.  No  artist  before  this  century  would  have  un- 
derstood the  mass  of  granite  under  the  thin  and  broken  turf.  Nor  would  any  older 
artist  have  felt  the  loveliness  of  the  natural  scene  in  this  half-melancholy,  half-pleas- 
urable spirit.  The  work  is  impressive  because  the  scene  is  impressive,  and  because  the 
artist  has  trained  himself  to  see  and  feel  enough  to  reproduce,  but  not  enough  to  trans- 
form nature,  and  make  a  new  creation  of  his  own."  —  P.  G.  Hamerton,  in,  English  Paint- 
ers of  the  Present  Day.  — 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  149 


Nevin,  Blanch©.  (Am.)  Native  of  Philadelphia.  Studied  sculp- 
ture under  J.  A.  Bailly  and  at  the  Pennsylvania  Academy  of  Fine  Arts. 
Executed  several  portrait  and  ideal  busts,  owned  principally  in  her 
1  native  city.  Among  her  more  important  works  are  a  full-length  statue 
of  "  Eve  "  and  a  statuette  of  "  Cinderella." 

Nicol,  Erskine,  A.  R.  A.  (Brit.)  Born  near  Edinburgh,  1825. 
Was  apprenticed  to  a  house-painter  in  his  native  city,  in  his  leisure 
hours  studying  in  the  Trustees  Academy,  and  teaching  drawing  a  few 
years  later  in  the  High  School  at  Leith.  After  spending  three  or  four 
years  in  Dublin,  where  he  gave  lessons  in  drawing  and  painted  por- 
traits, gathering  at  the  same  time  material  for  the  clever  sketches  of 
Irish  character  in  which  he  has  been  so  successful,  he  returned  to 
Edinburgh,  contributing  regularly  to  the  exhibitions  of  the  Royal 
Scottish  Academy,  of  which  he  is  a  full  member  (1859).  He  re- 
moved to  London,  where  he  still  resides,  in  1862.  He  sent  to  the 
Royal  Academy,  in  1857,  "Did  it  pout  with  its  Betsy?";  in  1861, 
"Toothache"  ;  in  1862,  "Notice  to  Quit"  ;  in  1863,  "Waiting  an 
Answer"  ;  in  1864,  "  Among  the  Old  Masters  "  ;  in  1865,  "  A  Depu- 
tation "  ;  in  1866,  "Both  Puzzled";  in  1867,  when  he  was  made 
Associate  of  the  Royal  Academy,  he  sent  "  Kiss  an'  make  it  up  "  ;  in 
1868,  "A  China- Merchant"  ;  in  1869,  "A  Disputed  Boundary"; 
in  1871,  "  On  the  Lookout "  ;  in  1872,  "  His  Babies "  ;  in  1873, 
"  Steady,  Johnny,  Steady  ! "  ;  in  1875,  "  The  New  Vintage"  and  "  Al- 
ways tell  the  Truth!1"  ;  in  1876,  "Storm  at  Sea"  ;  in  1877,  "  Un- 
willingly to  School "  ;  in  1878,  «  The  Lonely  Tenant  of  the  Glen," 
"  Under  a  Cloud,"  and  "  The  Missing  Boat." 

"  The  Almshouse  Nurse,"  a  sketch  of  Erskine  Nicol's,  was  in  the 
National  Academy  of  New  York  in  1869  ;  his  "  Paying  the  Rent  " 
(belonging  to  F.  0.  Day)  was  in  the  Centennial  Exhibition  of  Phila- 
delphia in  1876;  his  "Collecting  his  Thoughts"  brought  $1,560, 
and  his  "  Yours  to  Command "  $  1,575,  in  the  sale  of  the  Latham 
Collection  in  New  York  in  1878  ;  both  were  painted  in  1865,  and 
now  belong  to  Theron  R.  Butler  of  New  York.  His  works  are  famil- 
iarly known  on  both  sides  of  the  Atlantic  through  the  medium  of 
engraving. 

"Erskine  Nicol's  *  Storm  at  Sea  *  [R  A.,  1876]  is  a  picture  of  great  pathetic  power, 
vigorously  handled,  marvelously  well  drawn,  and  abounding  in  evidences  of  skill  and 
painstaking  study."  —  Art  Journal,  July,  1876. 

"  Erskine  Nicol  is  represented  by  one  of  his  inimitable  bits  of  Irish  comedy.  Ex- 
pression could  go  no  further  than  in  his  burly  farmer  who  has  come  into  town  to  con- 
sult '  His  Legal  Adviser '  [R.  A.,  1877]."  —  London  Standard,  May,  1877. 

"A  very  broadly  painted  group  ['Unwillingly  to  School,'  R.  A.,  1877],  showing  an  old 
Scotch  dame  doing  her  best  to  coax  a  braw  little  Hieland  laddie,  in  a  kilt  and  blue  bon- 
net, and  with  a  pair  of  cheeks  like  unto  two  Ribstone  pippins,  into  going  to  school. 
The  contest  of  emotions  in  this  work  is  exquisitely  rendered."  —  Illustrated  London  News, 
May,  1877. 

^Nicoll,  J.  C,  A.  N.  A,  (Am.)  Born  in  the  city  of  New  York  in  1846, 


150     ARTISTS  OF  THE  NINETEENTH  CENTJJRY* 


where  the  greater  part  of  his  professional  life  has  been  spent,  with 
the  exception  of  extensive  sketching- tours  along  the  coast  from  the 
Gulf  of  St.  Lawrence  to  Florida.  Mr.  Nicoll  painted  for  two  years 
in  the  studio  of  Mr.  F.  H.  De  Haas,  and  has  studied  in  the  fields  with 
Mr.  De  Haas,  Kruseman  Van  Elten,  and  others,  but  does  not  consider 
himself  a  pupil  of  either  of  these  gentlemen,  and  was  not  a  student 
of  any  of  the  art  schools  of  this  country  or  of  Europe.  His  works, 
which  are  of  moderate  size,  have  been  exhibited  in  the  principal  cities  of 
the  country.  He  is  not  a  member  of  the  National  Academy,  but  one 
of  the  original  members  of  the  Water-Color  Society  in  I860,  holding 
the  position  of  secretary  for  nine  years,  and  being  better  known  in 
that  branch  of  the  art,  to  which  a  large  part  of  his  time  has  been  de- 
voted. His  specialty  is  coast  views.  He  was  elected  a  member  of 
the  Artists'  Fund  Society  in  1874$ 

Among  the  better  known  of  NicolPs  works  in  oils  are,  "  Thatcher's 
Island,  Mass."  (sold  in  Syracuse),  "  Sunset,  Bay  of  Fundy  v  (now 
in  Chicago),  and  "  A  Summer's  Resting- Place  "  (belonging  to  H.  P. 
Farnham)  ;  in  water-colors,  "  Moonlight,  Cape  Ann  "  (the  property 
of  J.  M.  Sears  of  Boston),  "Off  Portland  Harbor/'  "Shower  on 
the  Coast/'  "  Schroon  Lake/'  and  "  Coast  View  in  Spring."  His 
**  Foggy  Morning,  Grand  Menan  v  and  bis  "  Gulf  of  St.  Lawrence  " 
were  at  the  Centennial  Exhibition  of  1876  ;  "  On  the  Gulf  of  St. 
Lawrence  "  and  "  Shower  on  the  Coast  "  (both  in  water-colors)  were 
at  the  Paris  Exposition  of  1878. 

"  NicolFs  '  Coast  View  in  Spring '  [water-color,  1875]  is  an  admirable  specimen  of  his 
skill.  The  coast  line  is  rocky,  and  in  giving  the  texture  of  the  water-worn  granite  as 
well  as  the  breaking  surf  with  its  shower  of  spray,  the  artist  shows  that  his  study  has  been 
earnest  as  well  as  conscientious.  In  color  the  work  is  brilliant,  and  what  is  commend- 
able, there  is  no  departure  from  truth  to  produce  the  result.7' — Art  Jcmmal,  March,  1875. 

Niemann,  Edmund  John.  (Brit.)  Born  in  Islington,  of  German 
parentage  (1813-1876).  Engaged  in  mercantile  pursuits  until  the 
age  of  twenty-six,  when  he  took  up  the  profession  of  an  artist.  He 
resided  in  Buckinghamshire,  and  painted  from  nature.  He  first  ex- 
hibited at  the  Eoyal  Academy,  in  1844,  "  On  the  Thames,  near  Great 
Marlow,"  which  attracted  favorable  notice.  In  1850  he  was  elected 
trustee  and  honorary  secretary  of  the  National  Institution,  a  short- 
lived association  of  artists.  Among  his  better  known  works  are,  "  The 
Thames  at  Maidenhead,"  "  Eecollections  of  the  Ehine/'  "  Scarbor- 
ough, —  Sunset n  (1862),  "Moss  Troopers/'  "  The  Ambush,"  "Chester 
Cathedral,"  "Launch  of  the  Great  Eastern,"  and  a  view  of  "  Scarbor- 
ough," his  last  exhibited  work,  at  the  Eoyal  Academy  in  1872. 

"  Niemann's  style  of  painting  may  lay  claim  to  a  certain  originality  His  coloring  is 
powerful,  with  often  a  tendency  to  heaviness,  but  at  all  times  it  is  highly  effective.  Four 
of  his  paintings  are  in  the  National  Collection  at  South  Kensington."  —  Art  Jcmmal, 
August,  1877. 

Niemeyer,  John  H.  (Am.)  Born  in  the  city  of  Bremen,  1839. 
He  was  taken  to  the  United  States  at  an  early  age,  but  returned  to  Eu- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  151 


rope  as  a  youth  to  complete  his  art  education,  studying  in  the  School 
of  Fine  Arts,  Paris,  under  Gerome  and  Yvon,  and  for  some  time  in 
the  private  atelier  of  Jacquesson  de  la  Chevreusse.  From  1866  to 
'70  he  was  in  the  studio  of  Cornu.  He  received  two  medals  from  the 
Imperial  School  of  Design  in  Paris.  His  professional  life  in  America 
was  spent  in  New  York  until  1871,  when  he  was  appointed  Pro- 
fessor of  Drawing  in  the  Yale  School  of  Fine  Arts,  where  are  some  of 
his  genre  pictures.  Among  his  important  works  are,  "  Guttenberg 
inventing  Movable  Type,"  at  the  Paris  Salon  of  1869,  and  at  the  Cen- 
tennial Exhibition  at  Philadelphia,  in  1876.  Of  late  years  he  has 
painted  portraits  and  ideal  works. 

"  A  picture  with  a  meaning  conveys  a  double  satisfaction,  and  the  artist  could  scarcely 
have  chosen  a  subject  more  appreciated  by  every  one.  The  picture  itself  ['Guttenberg '] 
is  a  product  of  a  master's  hand,  and  Mr.  Niemeyer  shows  an  intimate  knowledge  of  de- 
tail of  the  early  ages."  —  New  York  Telegram,  March  4,  1871. 

Nittis,  Giuseppe  de.  (Ital.)  Born  at  Barletta,  1846.  Medal  in 
1876.  Pupil  of  Gerome.  At  the  Salon  of  1877  he  exhibited  "  Paris,  — 
View  from  the  Pont  Royal"  ;  in  1876,  "  On  the  Road  to  Castellamare  " 
and  "  Place  des  Pyramides  "  ;  in  1875,  "  Place  de  la  Concorde  "  and 
"  At  Bougival,  on  the  Seine."  At  the  Glasgow  Fine  Art  Loan  Exhi- 
bition, 1878,  there  was  a  fine  picture  by  De  Nittis  of  the  "  Arc  de 
Triomphe,  Paris,"  belonging  to  J.  G.  Sandeman,  Esq.  "  In  the  dis- 
tance the  arch,  protected  by  scaffolding  and  woodwork.  In  the  street, 
and  riding  out  of  the  picture,  a  lady  on  a  black  horse  and  a  gentleman 
on  a  brown.  In  the  foreground,  to  the  right,  a  lady  in  black,  accom- 
panied by  a  nurse  with  scarlet  and  black  tartan  shawl,  wait  to  cross 
the  street.    Other  figures  through  the  picture."    [Died,  1884.] 

Nobas,  Rosendo.  (Span.)  At  Philadelphia  he  exhibited  "A 
Wounded  Bull-Fighter,"  a  portrait  of  Fortuny,  and  one  of  Miguel  de 
Cervantes,  all  in  plaster,  and  received  a  mechl. 

Noble,  Matthew.  (Brit.)  (1818-1876.)  Studied  in  London, 
exhibiting  there  his  first  work  in  1845.  He  executed  the  Wellington 
Monument  in  Manchester,  Oliver  Cromwell  in  the  same  city  (the  first 
statue  to  the  Protector  erected  in  a  public  place  in  England),  and 
statues  of  Sir  John  Franklin,  Sir  James  Outram,  the  Earl  of  Derby, 
and  of  Queen  Victoria,  in  different  cities  of  Great  Britain.  Among 
his  ideal  works  are,  "Amy  and  her  Fawn,"  "  Purity,"  "  The  Spirit  of 
Truth,"  etc. 

"  This  fine  bronze  statue  [Earl  of  Derby]  is  an  object  of  great  attraction  to  almost 
every  one  who  happens  to  be  for  the  first  time  in  the  neighborhood  of  the  Houses  of 
Parliament  and  Westminster  Abbey.  The  statue  is  one  of  Mr.  Noble's  most  successful 
works.  The  figure,  habited  in  the  costume  of  the  Oxford  chancellor,  is  very  dignified, 
yet  easily  and  gracefully  posed  ;  the  expression  of  the  face  is  rather  severe,  but  highly 
intellectual.   [It  was  unveiled  in  1874.]  "  —  Art  Journal,  August,  1875. 

Noel,  Edme- Antony-Paul.  (Fr.)  Born  at  Paris.  Medals  in 
1872  and  '74.    Pupil  of  Guillaume,  Lequesne,  and  Cavelier.    Prix  de 


152     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Rome,  in  1868.  Chevalier  of  the  Legion  of  Honor  in  1878.  At  the 
Salon  of  1878  he  exhibited  a  portrait  of  Baron  Taylor  (in  bronze) 
and  "Meditation"  (a  statne  in  marble)  ;  in  1876,  "After  the  Bath" 
(statue,  marble)  ;  in  1875,  "  Romeo  and  Juliet  "  (group,  marble)  and 
"  The  Retiarius  "  (statue,  bronze)  ;  in  1872,  "  Marguerite  "  (statue)  and 
"  Death  "  (a  bas-relief),  both  in  plaster,  etc. 

M.  Noel  is  also  known  by  his  artistic  work  in  the  Haviland  faience, 
a  fine  specimen  of  which  is  a  vase  in  the  possession  of  Mr.  Harper 
of  New  York.  His  signature  is  on  his  vases,  and  they  are  all  modeled, 
never  molded. 

Norton,  William  E.  (Am.)  Sprung  from  a  shipbuilding  famil}r 
in  Massachusetts,  he  had,  from  his  infancy,  a  fondness  for  the  sea, 
making  several  voyages  before  the  mast,  before  he  settled  in  Boston, 
and  began  the  painting  of  marine  views,  which  are  his  specialty,  and 
in  which  he  has  met  with  decided  success.  In  1877  he  went  abroad, 
opening  a  studio  in  London.  Among  his  works  are,  "  Gathering 
Kelp,"  "  Whale-Ships  Trying  Out,"  "  Early  Morning,"  "  Calm  After- 
noon," etc.  His  "  Fog  on  the  Grand  Banks  "  was  at  the  Philadelphia 
Exhibition  of  1876.  To  the  Royal  Academy,  London,  he  sent  in 
1878,  "The  Thames  near  Blackwall,"  "Twilight  on  the  Banks  of 
Newfoundland,"  and  "Becalmed  on  the  Grand  Banks."  To  the 
Mechanics'  Fair,  Boston,  the  same  year,  "  Midnight  Moonlight  on 
the  Grand  Banks,"  "  Nantasket  Beach  in  November,"  and  "  In  the 
Bay." 

"  William  E.  Norton's  *  Crossing  the  Grand  Banks  '  is  most  remarkable  for  its  effective 
presentation  of  fine  neutral  tints  of  rich  deep  gray,  and  soft  rich  hazy  dream-light."  —  Art 
Journal,  May,  1877. 

Oakes,  John  Wright,  A.  R.  A.  (Brit.)  Born  in  1822.  First 
sent  a  picture  to  the  Royal  Academy  in  1848.  In  1860  he  exhibited 
"An  Old  Sand-Pit";  in  1861,  "Water  Meadows,  Sandwich";  in 
1863,  "The  River  in  Flood"  ;  in  1865,  "  Morning  at  Augera,  Lago 
Maggiore"  ;  in  1869,  "Early  Spring"  ;  in  1870,  "A  Summer  Morn- 
ing" ;  in  1871,  "  Source  of  the  Thames"  ;  in  1872,  "Repairing  the 
Old  Boat" ;  in  1873,  "  A  Mountain  Stream,  Aberdeenshire  "  ;  in  1874, 
"  A  Sandy  Bit  of  the  Road  "  ;  in  1876  (when  he  was  elected  an  Asso- 
ciate of  the  Royal  Academy),  "  Fording  a  Tidal  Creek  "  and  <;  Shel- 
tered "  ;  in  1877,  "  In  the  Border  Countrie "  and  "  Line-Fishing " 
(a  calm  sea  on  the  South  Coast)  ;  in  1878,  "  Dirty  "Weather  on  the 
East  Coast "  and  "  In  the  Meadows." 

« '  We  remember  no  landscape  of  Mr.  Oakes'  so  powerful  or  so  well  brought  together  in 
effect  as  his  '  Mountain  Valley '  [R.  A.,  1864].  Otters  catching  salmon  in  the  foreground, 
whilst  behind  a  sudden  gleam  of  angry  light,  succeeding  rain  and  snow,  smites  the  frac- 
tured face  of  a  huge  slate-cliff.  The  work  has  a  real  solemnity  of  effect. "  —  Palgrave's 
Essays  on  Art. 

Oakey,  Maria  R.  (Am.)  Born  in  New  York,  1847.  She  was 
educated  at  the  schools  of  the  Cooper  Institute  and  the  Academy  of 
Design,  and  has  had  the  benefit  of  instruction,  at  different  periods,  from 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  153 


La  Farge,  William  Hunt,  Dr.  Rimmer,  Swain  Gifford,  George  Butler, 
Edwin  Forbes,  and  Thomas  Couture.  With  the  exception  of  a  visit 
to  France  and  Italy  her  professional  life  has  been  spent  in  New  York. 
Among  her  works  are  a  portrait  of  a  boy,  life  size  and  full  length,  ex- 
hibited in  Boston  and  New  York  (belonging  to  Daniel  Oakey) ;  por- 
trait of  Miss  0.  S.  Ward ;  "  A  Woman  Serving,"  exhibited  in  New 
York,  Boston,  and  London  (belonging  now  to  Edward  Cook) ;  "  Vio- 
lets," a  life-size  (three-quarter  length)  figure  of  a  young  girl  in  an- 
tique dress,  at  the  Exhibition  of  the  Society  of  American  Artists  in 
1878  ;  "  L' Inamorato";  "The  Philosopher's  Corner"  (in  oil),  belong- 
ing to  Samuel  V.  Wright  of  New  York  ;  and  portraits,  flowers,  still- 
life,  ana  charcoal  drawings,  owned  by  Miss  Bartol  of  Boston,  C.  W. 
"Woolsey,  John  P.  Townsend,  J.  Q.  A.  Ward,  Alexander  Cochrane,  and 
others.    [Married  T.  W.  Dewing,  the  artist,  in  1881.] 

O'Connell,  Mme.  Frederic-Emilie-Auguste-Miethe.  (Ger.)  ' 
Born  at  Berlin,  1828.  Pupil  of  Begas  of  Berlin.  Her  first  picture, 
the  "  Day  of  the  Dupes, tUoagh  far  from  perfect,  was  much  praised. 
In  1844  she  married  and  settled  in  Brussels.  Here,  by  the  study  of 
the  pictures  of  the  Flemish  school,  she  much  improved,  and  while  in 
Belgium  she  painted  many  water- colors,  some  portraits,  and  executed 
most  of  her  etchings.  She  received  at  the  Salons  there  all  the  med- 
als, including  that  of  the  first  class.  About  1853  she  went  to  Paris, 
where  she  was  also  successful,  and  where  she  opened  an  atelier,  and 
received  a  number  of  pupils.  Among  her  works  are,  "  Portrait  of 
Rachel,"  "Peter  the  Great  and  Catherine,"  "Maria  Theresa  and 
Frederick  the  Great."  Among  her  etchings  are,  "  St.  Magdalen  in  the 
Desert,"  "  Charity  surrounded  by  Children,"  some  busts,  portraits,  etc. 

O'Donovan,  William  R.,  A.  N.  A.  (Am.)  Born  in  Virginia,  1844. 
An  American  sculptor  whose  professional  life  has  been  spent  in  the 
city  of  New  York.  He  sent  to  the  National  Academy,  in  1874,  a  bust 
of  the  late  Peter  Gilsey  (belonging  to  Mr.  Henry  Gilsey).  In  1876  he 
exhibited  a  bust  of  the  late  John  A.  Kennedy,  executed  for  the 
monument  to  be  placed  over  his  grave  by  the  Odd  Fellows.  In  1877 
he  sent  his  bust  of  Thomas  Le  Clear,  N.  A.,  and  in  1878,  busts  of 
William  H.  Beard,  Winslow  Homer,  and  one  of  William  Page,  to  be 
presented  by  a  number  of  prominent  residents  of  New  York  to  the 
Academy  of  Design.  He  is  at  present  (1878)  engaged  upon  a  bust  of 
Theodore  Tilton,  and  many  prominent  Americans  have  been  among 
his  subjects.  He  was  elected  an  Associate  of  the  National  Academy 
in  1878. 

"  In  making  a  bust  Mr.  O'Donovan,  as  he  should,  pays  as  much  attention  as  a  por- 
trait-painter does  to  the  modifying  influence  of  color  or  form  One  of  the  best 

and  best-known  artists  of  the  country  is  reported  to  have  said  recently  of  O'Donovan's 
portrait  of  the  painter  Page,  that  it  is  executed  in  the  true  Phidian  spirit.  This  was 
only  another  way  of  saying  that  it  is  in  the  style  of  the  purest  ancient  Greek  art,  and  as 
so  little  of  our  modern  sculpture  deserves  such  praise,  Mr.  O'Donovan's  bust  is  a  singu- 
larly interesting  performance."  —  Art  Journal,  February,  1878. 
7* 


154     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Ogilvie,  Clinton,  A.  N.  A.  (Am.)  Born  in  New  York,  1838, 
He  has  devoted  himself  to  landscape- painting,  studying  under  James 
Hart,  and  practicing  his  profession  in  his  native  city.  He  has  twice 
visited  Europe,  working  for  some  time  in  Paris.  In  1864  he  was 
elected  an  Associate  of  the  National  Academy,  exhibiting  there,  in 
different  seasons,  "  The  Path  by  the  River,"  "  Valley  of  the  Croton," 
"  Farmington  River  Scenery,"  "  The  Brookside,"  "  Summer  Day  in 
Connecticut,"  "  Sunny  Summer  Time,"  "  The  Mountain  Brook," 
"  Near  Brummer,  Switzerland,"  "  Lauterbrunnen,"  "  Lake  Como," 
"  Lake  of  Killarney,"  etc.  His  "  In  the  Woods  "  was  at  the  Centen- 
nial Exhibition  at  Philadelphia  in  1876. 

Oliva,  Alexandre-Joseph.  (Fr.)  Born  at  Saillagousse,  about 
1824.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Delaistre.  Best 
known  by  his  portrait  statues  and  busts,  of  which  he  has  made  a 
great  number.  His  "Rembrandt"  (1853)  and  a  bust  of  R.  P.  Ventura 
de  Raulica  are  at  the  Luxembourg. 

Olivia,  Leon.  (Fr.)  Born  at  Narbonne.  Medal  in  1876.  Pupil 
of  Coedes  and  Cogniet.  At  the  Salon  of  1876  he  exhibited  "  The 
Question  "  and  "  A  Fisherman  of  the  Seine." 

O'Neil,  Henry,  A.  R.  A.  (Brit.)  Born  in  St.  Petersburg,  1817. 
Taken  to  England  as  a  child,  he  displayed  a  taste  for  art,  and  entered 
the  Royal  Academy  in  1867.  He  exhibited  his  first  picture  two  years 
later,  since  contributing  regularly  to  the  exhibitions  of  the  Academy. 
His  "  Eastward  Ho,"  in  1858,  and  (the  companion  picture)  "  Home 
Again,"  in  1859,  attracted  great  attention  in  England,  and  brought 
him  into  prominent  notice  as  an  artist.  Both  were  engraved.  Among 
the  better  known  of  O'Neil's  earlier  works  are,  "  The  Last  Moments 
of  Mozart,"  "  Queen  Catherine's  Dream,"  "  The  Return  of  the  Wan- 
derer," and  "  Ruth  and  Naomi "  (which  belonged  to  Prince  Albert). 
In  1860  (when  he  was  elected  an  Associate  of  the  Royal  Academy)  he 
contributed  "  The  Shipwreck  "  ;  in  1861,  "  The  Parting  Cheer  "  ;  in 
1862,  "  Mary  Stuart's  Farewell  to  France  "  ;  in  1863,  "  The  Power  of 
Music  "  ;  in  1864,  "  The  Landing  of  the  Princess  of  Wales  at  Graves- 
end  "  ;  in  1866,  «  The  Last  Moments  of  Raffaelle  "  ;  in  1868,  "  Before 
Waterloo  "  ;  in  1872,  "  Rebecca  and  Ivanhoe  "  ;  in  1873,  "  Tintoretto 
painting  his  Dead  Daughter "  ;  in  1874,  "  The  Path  through  the 
Glen  "  ;  in  1875,  "  An  Incident  of  the  Plague  of  London  "  ;  in  1876, 
several  bits  of  Scottish  landscape  ;  in  1877,  "  Shakspere  reading  'A 
Midsummer  Night's  Dream '  to  Queen  Elizabeth "  ;  in  1878,  "Loch 
Leven,  1568  "  and  "  Catherine's  Dream."  Many  of  the  above  have 
been  engraved.  To  the  Philadelphia  Exhibition  of  1876  he  sent  "  A 
Volunteer."    [Died,  1880.] 

O'Neil,  G.  B.  (Brit.)  A  resident  of  London.  He  paints  genre 
subjects,  which  appeal  to  the  popular  taste.  He  first  exhibited  at  the 
Royal  Academy  in  1851,  and  continues  to  send  pictures  there  regu- 
larly.   Among  his  earlier  works  may  be  mentioned,  "  A  Hearty  Wei- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  155 


wme,"  "A  Statute  Fair,"  "The  Rival  Musicians,"  "A  Favorite 
Tune,"  etc.  To  the  Royal  Academy,  in  1868,  he  sent  "  Why  so 
late  ? "  ;  in  1869,  "  New  Shoes  "  ;  in  1871,  "  The  Children's  Party"  ; 
in  1872,  "Nestlings"  ;  in  1873,  "Driving  a  Pair"  ;  in  1874,  "A 
Little  Better"  ;  in  1875,  "  Sympathy  "  ;  in  1876,  "  Our  Boys  "  ;  in 
1877,  "  The  Father  of  the  Regiment "  ;  in  1878,  "  Reaping  Time." 
One  of  his  first  works  which  attracted  public  attention,  "  The  Found- 
ling "  (R.  A.,  1852),  bequeathed  by  Jacob  Bell,  is  now  in  the  National 
Gallery,  London.    Many  of  his  pictures  have  been  engraved. 

Orchardson,  William  Q.,  R.  A.  (Brit.)  Born  in  Edinburgh 
in  1835,  and  educated  there  at  the  Trustees  Academy.  He  painted 
portraits  in  his  native  city  for  a  few  years,  exhibiting  at  the  Royal 
Scottish  Academy.  In  1863  he  removed  to  London,  where  he  still 
resides,  and  sent  to  the  Royal  Academy,  the  same  year,  "  An  Old 
English  Song  "  ;  in  1864,  "  Flowers  of  the  Forest "  ;  in  1865,  "  Ham- 
let and  Ophelia"  ;  in  1866,  "  Story  of  a  Life";  in  1867,  "Talbot 
and  the  Countess  of  Auvergne"  ;  in  1868  (when  he  was  elected  an 
Associate  of  the  Royal  Academy),  a  "  Scene  from  Shakspere's  Henry 
IV."  ;  in  1869,  "  The  Duke's  Antechamber  "  ;  in  1871,  "  On  the 
Grand  Canal "  and  "  An  Hundred  Years  Ago "  ;  in  1872,  "  Casus 
Belli "  and  "  The  Forest  Pet  "  ;  in  1873,  "  Cinderella  "  and  "  The 
Protector  "  ;  in  1874,  "  Hamlet  and  the  King  "  and  "  Ophelia  "  ;  in 

1875,  "  Too  Good  to  be  True  "  and  "  Moonlight  on  the  Lagoons  "  ;  in 

1876,  "The  Bill  of  Sale"  and  "Flotsam  and  Jetsam" ;  in  1877,  "The 
Queen  of  the  Swords"  and  "Jessica"  ;  in  1878,  "A  Social  Eddy"  and 
"Autumn."    Elected  Royal  Academician,  1879. 

Among  Orchardson's  other  works  are,  "  Peggy,"  a  scene  from  "  The 
Gentle  Shepherd  "  (Brit.  Inst.,  1863),  "  The  Challenge  "  (Paris  Expo- 
sition, 1867),  "  Christopher  Sly,"  "Choosing  a  Weapon,"  "  The  Vir- 
tuoso," "The  Salutation,"  etc.  He  sent  to  Philadelphia,  in  1876, 
"  Prince  Henry,  Poins,  and  Falstaff,"  and  "  Moonlight  on  the  La- 
goons, Venice  ";  to  Paris,  in  1878,  "  The  Queen  of  the  Swords,"  "  The 
Bill  of  Sale,"  "  Escaped,"  and  "  The  Duke's  Antechamber." 

"  Orchardson  is  an  artist  of  more  than  ordinary  merit."  —  Benjamin's  Contemporary 
Art  in  Europe. 

"  We  look  with  somewhat  mixed  feelings  on  what  may,  we  suppose,  be  termed  the 
rising  school  of  English  and  Scottish  incident  painters.  Among  the  latter  Mr.  Orchard- 
son  has  at  present  the  air  of  losing  ground  ;  the  less  promising  qualities  in  his  work 
of  the  last  two  years  having  obtained  in  1865  a  certain  prominence  over  the  merits  visible 
in  his  earlier  productions.  His  'Hamlet  and  Ophelia '  has  many  clever  points,  and  the 
scene  has  been  properly  imagined  as  off  the  stage,  but  we  do  not  gain  so  much  as  might 
have  been  expected ;  the  two  heads,  especially  Ophelia's,  being  poor  and  unsatisfac- 
tory in  character."  —  Palgrave's  Essays  on  Art. 

"  '  Two  Skye-Terriers  '  [R.  A.,  1873],  by  Orchardson,  are  admirably  painted.  To  each 
dog  is  given  a  definition  of  character  which  is  remarkably  impressive.  This  is,  we  be- 
lieve, the  only  animal  picture  by  this  painter  that  has  been  exhibited  in  the  Royal 
Academy.  It  is  not  easy  to  determine  whether  he  deals  more  favorably  with  animal  or 
human  expression."  —  London  Art  Journal,  June,  1873. 


156     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Ordway,  Alfred.  {Am.)  A  resident  of  Boston.  He  was  the 
founder  of  the  Boston  Art  Club,  in  1854,  and  its  first  Secretary  and 
Treasurer,  its  President  in  1859,  and  the  Corresponding  Secretary  in 
1866.  From  1856  to  '63  he  was  director  of  the  exhibitions  of  paint- 
ings at  the  Boston  Athenseum,  and  has  exhibited  regularly  at  the  Art 
Club.  His  pictures  are  owned  by  Mr.  Thomas  Wigglesworth  of 
Boston,  Colonel  Elliot  of  Baltimore,  and  other  collectors.  "  On 
Charles  River,"  "  Newton  Lower  Falls,"  and  "  Arline  "  were  at  the 
Mechanics'  Fair  in  Boston  in  1878. 

Osborn,  Miss  E.  M.  (Brit.)  Residing  in  London,  she  had  for 
some  years  also  a  studio  in  Glasgow,  painting  portraits  and  occasional 
subject-pictures.  Among  her  works  may  be  noted,  "  Olivia,"  at  the 
Glasgow  Loan  Exhibition  of  1878  ;  and  "  A  Golden  Day-Dream  "  and 
"  The  Cemetery  at  Mazorbo,  near  Venice,"  at  the  Royal  Academy, 
London,  in  1877. 

Oudine\  Eugene- Andre*.  (Fr.)  Born  at  Paris,  1810.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Andre  Galle.  The  works  of  this 
sculptor  are  mostly  for  public  buildings,  fountains,  etc.,  and  are  ap- 
parently innumerable.  He  has  also  executed  a  large  number  of  por- 
traits. At  the  Salon  of  1878  he  exhibited  a  portrait  of  himself,  a 
bust  in  bronze. 

Oudinot,  Achille  Francois.  (Fr.)  Born  at  Damigny  (Orne), 
1820.  Pupil  of  Huyot  in  architecture,  and  of  Corot  in  painting. 
After  visiting  Italy,  from  which  country  he  brought  many  water- 
color  sketches,  his  vocation  for  painting  seemed  too  prononce  to  be 
disregarded,  and,  although  he  has  since  done  considerable  work  as  an 
architect,  it  is  as  a  painter  that  he  is  best  known.  He  has  also  occu- 
pied himself  as  a  designer,  especially  for  the  "  Magasin  pittoresque," 
and  has  painted  on  glass.  At  the  Exposition  of  1855  his  glass  paint- 
ings were  much  admired.  In  the  Art  Journal  of  January,  1876,  is 
the  following  :  — 

"  At  the  exhibition  of  the  works  commanded  by  the  city  of  Paris  were  seen  five  large 
and  beautiful  glass  paintings,  executed  by  Oudinot,  which  are  placed  on  the  chevet  of 
the  church  of  Saint-Jacques  du  Haut-Pas,  where  they  make  the  best  effect.  It  is  to  be 
remarked  that  they  are  painted  in  black  and  white  on  a  ground  of  mosaic  of  gold.  It 
has  a  happy  effect,  at  the  same  time  that  it  is  a  progress.  M.  Oudinot  is  now  occupied 
in  the  restoration  of  the  glass  of  Jean  Cousin,  at  the  Sainte-Chapelle  at  Vincennes." 

Oudinot  also  placed  himself  in  relations  with  some  master-builders, 
and  was  charged  with  the  erection  of  houses  in  Paris,  a  hotel  at  Passy 
in  the  style,  of  Louis  XIII.,  and  with  numerous  country-houses, 
among  which  was  that  of  the  late  artist  Daubigny,  near  l'Isle-Adam. 
During  the  year  1877  Oudinot  took  up  his  residence  at  Boston,  and 
carried  to  the  United  States  a  large  number  of  pictures,  some  of  which 
have  been  exhibited  in  Boston  art  galleries  and  exhibitions.  One 
of  these,  which  wonderfully  represents  a  storm  of  wind,  was  pur- 
chased by  Mr.  D.  Waldo  Lincoln  of  Worcester.    Others  have  been 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  157 


bought  by  Mr.  T.  G.  Appleton,  Mr.  G.  B.  Richmond,  Mr.  Wig- 
glesworth,  and  others.  His  subjects  are  varied.  His  landscapes 
present  to  us  many  of  the  characteristic  features  of  French  country 
scenes,  —  thatched  cottages,  wooded  paths,  meadows  and  streams, 
are  reproduced  with  the  varied  effects  of  shining  and  lowering 
skies,  with  a  charm  which  written  words  can  scarcely  tell,  —  certainly 
not  in  the  space  here  allotted  us.  His  picture  of  "  Dunes  at  Dun- 
querque  "  has  been  much  admired. 

"  Oudinot  was  long  a  favorite  pupil  of  Corot,  and  shows  in  his  works  very  distinctly 
the  influence  of  that  master  on  his  manner.  While  he  is  versatile,  his  most  successful 
labors  are  landscapes.  These  are  usually  at  once  rich  in  coloring  and  imaginative  in 
temper  and  quiet.  Of  the  pictures  by  him  recently  exhibited  those  were  most  at- 
tractive which  represented  pastoral  scenes.  Several  were  marine  views,  however,  and 
one,  representing  a  land  storm,  proved  that  the  painter  is  capable  of  imaginative  work 
of  a  high  order."  —  Art  Journal,  December,  1877. 

Ouless,  Walter  William,  R.  A.  (Brit.)  Born  at  St.  Hellers, 
Jersey,  1848.  Educated  in  the  Royal  Academy,  he  has  devoted  him- 
self to  portrait-painting,  spending  his  professional  life  in  London. 
He  has  exhibited  at  the  Royal  Academy  since  1873,  and  was  elected  an 
Associate  of  that  institution  in  1877.  Among  the  better  known  and 
more  successful  of  his  portraits  have  been  those  of  Lord  Selborne,  Lord 
Justice  Amphlett,  Charles  Darwin,  Admiral  Sir  Alexander  Milner, 
Hon.  E.  P.  Bouverie,  Hon.  Russell  Gurney,  etc.    [R.  A.,  1881.] 

"  Few  artists  of  greater  promise  in  his  line  can  be  found  than  W.  W.  Ouless.  His 
texture,  handling,  and  coloring  are  of  the  first  order."  —  Benjamin's  Contemporary  Art 
in  Europe. 

"  '  The  Mayor  of  Newcastle,'  by  Ouless,  is  an  agreeable  and  vigorous  portrait,  highly 
creditable  to  the  painter,  and  honorable  to  its  subject  and  to  its  possessors.  Mr.  Ouless 
has  adopted  from  Mr.  Millais  what  was  deserving  of  imitation,  and  has  used  the  skill  he 
has  learned  to  better  ends.  All  his  portraits  are  vigorous  and  interesting."  —  Ruskin's 
Notes  of  the  Academy,  1875. 

"Mr.  Ouless' portraits  have  vast  merit.  Painted  with  equal  firmness  and  freedom, 
they  are  invariably  life-like  and  expressive,  and  display  a  general  grace  and  brilliancy  of 
treatment,  which  imparts  to  them  a  distinctive  and  resistless  charm."  —  London  Morn- 
ing Post,  May,  1877. 

Ouvrie",  Pierre  Justin.  (Fr.)  Born  at  Paris,  1810.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Abel  de  Pujol  and  CMtillon.  His 
picture  of  the  "Oval  Court  of  the  Castle  of  Fontainebleau "  (1840) 
and  "  The  Monument  to  Walter  Scott  at  Edinburgh"  (1863)  are  at 
the  Luxembourg.  The  pictures  of  this  artist  are  numerous,  and  his 
works  varied.  He  paints  in  both  oil  and  water  colors,  and  makes 
lithographs. 

Overbeck,  Friedrich,  (Ger.)  Bom  at  Lubeck  (1789-1869). 
Associate  Member  of  the  Institute  of  France.  After  some  preliminary 
studies  this  artist  settled  in  Rome  in  1810,  and  remained  there  during 
his  life.  He  became  a  Roman  Catholic,  and  laid  down  as  the  funda- 
mental principle  of  his  art,  that  it  existed  only  for  the  service  of  re- 
ligion.   He  drew  about  him  many  disciples,  who  with  him  under- 


158     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


took  to  accomplish  the  regeneration  of  painting.  He  became  known 
through  his  frescos  of  the  "  History  of  Joseph,"  at  the  villa  of  the 
Consul-General  of  Prussia,  and  "  Jerusalem  Delivered,"  at  Villa  Mas- 
simi,  in  which  works  he  was  assisted  by  his  brother  artists  and  pupils. 
The  "  Miracle  of  the  Rose,"  in  the  church  of  Saint  Agnes  at  Assisi, 
was  almost  entirely  the  work  of  Overbeck.  Among  his  oil-pictures 
are,  "  The  Entrance  of  Christ  into  Jerusalem,"  at  the  church  of  Notre- 
Dame  in  Lubeck  ;  "  Christ  on  the  Mount  of  Olives,"  at  Hamburg  ; 
the  "  Marriage  of  the  Virgin  "  ;  several  Holy  Families  ;  the  "  Death 
of  Saint  Joseph "  ;  etc.  Many  engravings  have  been  made  after 
the  works  of  Overbeck,  and  for  a  time  his  "  new  departure  "  in 
painting  was  much  talked  of,  and  he  apparently  had  great  influence. 
His  pupils,  as  they  returned  to  Germany,  were  employed  in  the  deco- 
ration of  churches  and  chapels,  and  these  remain  to  show  the  fruit 
of  his  influence  and  doctrines.  The  chef-d'oeuvre  of  this  painter  is 
the  "  Triumph  of  Religion  in  the  Arts,"  which  is  at  the  Staedel  In- 
stitute in  Frankfort.  At  the  National  Gallery,  Berlin,  is  his  "  Jeru- 
salem Delivered." 

"  The  world  of  modern  German  art,  as  that  of  old,  divides  itself  into  two  hemispheres  : 
Overbeck  rules  as  the  modern  Raphael  over  one;  Cornelius,  as  a  German  Michael  Angelo, 
bears  iron  sway  over  the  other.  Overbeck  is  the  St.  John  which  leant  in  love  on  the 
bosom  of  our  Lord  ;  Cornelius  is  St.  Peter,  strong  as  a  rock  on  which  to  build  the 
Church.  And  as  with  Michael  Angelo  followers  were  wanting,  so  with  Cornelius  he 
walks  in  that  terribile  via  wherein  few  can  venture  to  tread.  The  lot  of  Overbeck  is  more 
blessed.  Like  to  Raphael,  his  forerunner,  he  draws  by  love  all  men  unto  him  ;  near  to 
him,  through  fellowship  of  endearing  sympathy,  warmed  by  the  emotion  which  beauty, 
akin  to  goodness,  in  the  universal  heart  begets.  ....  Among  the  oil-paintings  of  Overbeck, 
'  The  Triumph  of  Religion  in  the  Arts ,'  one  of  the  choicest  treasures  in  the  Stadel  Institute, 
Frankfort,  is  certainly  the  most  elaborate  and  ambitious.  This  grand  composition, 
which  may  be  likened  in  its  intent  to  Raphael's  '  School  of  Athens,'  or  to  the  '  Hemi- 
cycle  '  by  Delaroche,  has  been  aptly  termed  by  German  critics,  'The  Christian  Parnas- 
sus,' the  dawn  of  light  in  Europe.  I  wish  that  space  were  left  for  detailed  description 
of  this  work,  weighty  in  thought,  and  loaded  with  symbolism,  —  a  work  meant  as  a  dec- 
laration of  faith,  the  programme  of  a  creed,  preaching  to  the  world  a  homily.  Yet 
while  pondering  on  this  picture  well  worthy  of  veneration,  I  could  not  but  regret  once 
more,  that  Overbeck,  in  maturing  his  pictorial  thoughts,  had  not  shown  like  diligence 
in  the  perfecting  of  the  material  instruments,  through  which  alone  ideas  can  be  made 
visible.  In  the  remembrance  of  the  heavenly  harmonies  of  Angelico  and  Perugino,  it 
is  hard  to  forgive  even  a  spiritual  artist  for  crudeness  of  tone,  and  for  the  use  of  colors 
which  are  of  the  earth  earthy.  In  the  recollection  of  Italian  pictures,  lovely  in  all  per- 
fections, it  is  not  easy  to  bestow  unqualified  admiration  on  figures  which,  whatever  be 
their  Christian  graces,  are  severe  in  outline,  ungainly  in  form,  and  feeble  in  bodily  frame. 
Such  defects,  however,  may  be  perchance  but  motes  that  darken  the  sunbeam ;  they  are, 
perhaps,  but  the  vapors  of  earth  which  the  light  of  heaven  has  struggled  in  vain  to 
dispel."  — J.  Beavington  Atkinson,  Art  Journal,  February,  1865. 

"  There  is  also  a  conservative  religious  school  illustrated  by  Overbeck,  and  an  eclectic 
one  by  Cornelius  and  Kaulbach,  who  thought  to  recast  the  art  of  the  nineteenth  cen- 
tury in  old  molds,  and  with  about  as  much  permanent  success  as  a  new  order  of  Stylites 
might  expect.  These  artists  are  ambitious,  learned,  sincere,  and  skillful.  But  the  com- 
mon people  wonder,  shake  their  heads,  and  straightway  forgetting  the  big  paintings 
compounded  of  defunct  foreign  systems  and  feelings,  pass  on  to  admire  the  easel  repre- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  159 


sentations  of  things  familiar  and  domestic.  Modern  democratic  taste,  right  or  wrong, 
will  not  tolerate  asceticism,  allegory,  religious  or  classical  idealism,  mysticism,  roman- 
ticism, or  other  passion  of  the  past,  while  it  can  command  a  plentiful  supply  of  its  own 
loved  naturalism.  Its  idols  must  talk  its  own  tongue,  and  have  a  fellow-feeling.  Democ- 
racy has  hit  the  right  path  for  a  more  wholesome  art  of  its  own  than  aristocracy  ever 
worked  out  for  itself.  Believe,  and  then  be  baptized.  The  habit  of  church  or  state  is 
to  baptize  first,  leaving  the  neophyte  to  believe  if  he  can,  disbelieve  if  he  dare."  — 
Jarves,  Art  Thoughts. 

Pabst,  Camille  Alfred.  (Fr.)  Born  at  Heiteren.  Medal  at 
Paris  in  1874.  Medal  at  Philadelphia.  Pupil  of  Comte.  At  Phila- 
delphia he  exhibited  "  The  Alsatian  Bride,"  and  at  the  Paris  Salon  of 
1877,  "  The  Cradle  "  and  "  The  Album  of  the  War  " ;  and  in  1878,  "An 
Apothecary  in  Alsace  "  and  "  A  Corner  of  my  Atelier." 

Page,  William,  N.  A.  (Am.)  Born  in  Albany,  N.  Y.,  1811.  Re- 
moved  in  1820  with  his  family  to  New  York  City.  Was  a  pupil  in 
the  classical  school  of  Joseph  Hoxie.  At  the  age  of  eleven  he  gained 
a  premium  from  the  American  Institute  for  an  india-ink  drawing. 
He  entered  the  law  office  of  Frederick  De  Peyster  when  quite  a  young 
man,  but  soon  devoted  himself  entirely  to  art,  studying  under  Pro- 
fessor Morse,  and  in  the  schools  of  the  National  Academy.  In  1828 
and  '29  he  painted  portraits  in  Albany.  Again  settled  in  New  York, 
and,  later,  opened  a  studio  in  Boston,  where  he  remained  until  he  went 
abroad.  For  many  years  he  was  considered  the  leading  American  por- 
trait-painter in  Eome.  He  was  made  a  full  member  of  the  National 
Academy  in  1836.  Among  Page's  earlier  works  are  a  "  Holy  Family  " 
(belonging  to  the  Boston  Athenseum),  "  The  Infancy  of  Henry  IV.," 
and  a  portrait  of  Governor  Marcy  (the  last  in  the  City  Hall,  New 
York).  In  1868  he  sent  to  the  NationalAcademy  portraits  of  Robert 
B.  Minturnand  Mrs.  Theodore  Tilton;  in  1869,  Henry  Ward  Beecher 
(belonging  to  Theodore  Tilton);  in  1870,  Governor  Fenton  (belonging 
to  the  city  of  New  York);  in  1874,  Col.  R.  G.  Shaw.  His  "An- 
tique Timbrel-Player  "  was  in  the  National  Academy  in  1871;  "  Far- 
ragut's  Triumphant  Entry  into  Mobile  Bay,"  in  1872  ;  "  Shakspere," 
in  1874;  and  "  Shakspere,  from  the  German  Death  Mask,"  in  1876. 

Among  his  other  works  may  be  mentioned,  "  Ruth  and  Naomi  "  (in 
the  possession  of  the  New  York  Historical  Society),  "Moses,"  "  Ruth," 
"  Venus,"  and  portraits  of  Robert  Browning,  and  Charlotte  Cnshman. 
A  head  of  Christ,  painted  by  Page  for  Theodore  Tilton,  and  exhibited 
at  the  National  Academy  and  elsewhere,  attracted  much  attention. 
The  lectures  which  this  artist  delivered  at  the  National  Academy 
were  fine,  and  much  valued  by  the  students  who  listened  to  them. 
A  number  of  Page's  pictures  were  on  exhibition  in  New  York  in 
the  winter  of  1877,  including  his  bust  and  full-length  portrait  of 
Shakspere,  his  copy  of  Titian's  "Venus,"  and  his  own  "Venus," 
painted  in  Rome  in  1859,  and  exhibited  in  London  in  1860  and  in 
New  York  in  1867.  Mr.  Page  has  for  some  years  occupied  a  studio 
in  New  York. 


160     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  There  is  much  in  Page  to  command  respect.  He  experiments  boldly  in  pursuit  of 
the  combined  splendor  and  purity  of  Titian,  thinks  profoundly,  reasons  plausibly,  and 
always  essays  high  art.  Ever  ready  to  confound  or  convince,  he  surprises,  delights, 
confuses,  and  disappoints  all  at  once.  Some  of  his  portraits  exhibit  nice  discrimination 
of  character,  while  his  ideal  works,  notwithstanding  faults  of  grammar  and  much  want 
of  good  taste,  when  he  departs  from  direct  copying,  have  something  grand  in  suggestion, 
showing  familiarity  with  great  work."  —  Jakves,  Art  Idea. 

"  Of  all  the  American  portrait-painters,  Page  is  the  most  originally  experimental ;  he 
has  studied  his  art  in  theory  as  well  as  practice  He  seems  to  unite  the  conserva- 
tive instincts  of  the  old-world  artists  with  the  bold  experimental  ambition  of  the  young 
Republic."  —Tuckerman's  Boole  of  tlie  Artists. 

"  Page's  portrait  of  President  Eliot  of  Harvard  College  [N.  A.,  1876]  is  in  many  re- 
spects the  finest  work  in  the  Exhibition.  It  is  a  striking  likeness,  and  the  pose  is  emi- 
nently characteristic  of  the  man.  We  look  upon  this  work  as  the  highest  aim  in 
portraiture.  The  painting  is  solid,  the  drawing  firm,  and  every  detail  of  the  work  is 
finished  with  conscientious  care."  —  Art  Journal,  May,  1876. 

Palizzi,  Giuseppe.  (Ital.)  Born  at  Lanciano,  1813.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  the  Academy  of  Naples.  He  went  to 
Paris  in  1844.  He  paints  landscapes,  figures,  and  animals.  Naturally, 
with  such  endeavors,  some  things  must  be  good  and  some  bad.  It 
is  quite  necessary  to  choose  carefully  if  one  buys  a  Palizzi.  At  the 
Salon  of  1877  he  exhibited  "  Asses  in  a  Forest "  and  "  Cows  in  a 
Pasture  "  ;  in  1876,  "  The  Return  from  the  Fair"  and  " The  Road  of 
San  Germano,  near  Mount  Cassin  "  ;  and  in  1875,  "  An  Italian  Herds- 
man descending  the  Mountain  with  his  Sheep."  His  "  Landscape 
with  Goats "  and  "  A  Neapolitan  Boy  "  belong  to  J.  H.  Weeks  of 
Boston. 

"  Joseph  Palizzi  is  a  Neapolitan,  naturalized  Frenchman,  even  a  Parisian  by  his  mind, 
his  talent,  his  success.  I  know  few  artists  more  fruitful,  more  varied,  more  anxious  to 
attempt  painting  in  all  phases  ;  he  goes  from  landscape  to  figures  ;  he  knows  animals  by 
heart ;  he  leaves  one  pocket  picture  in  the  size  and  finish  of  a  miniature  to  undertake 
a  grand  canvas  of  historic  dimensions.  At  times  he  throws  aside  his  palette  to  essay 
charcoal  and  water-colors.  He  is  a  seeker  ;  an  insatiable,  an  ambitious  man  in  the  best 
sense  of  the  word.  We  can  see  that  success  and  failure  (there  are  some  heights  and 
depths  in  his  history)  stimulate  him  equally."  —  Edmond  About,  Salon  de  1864. 

Palmaroli,  Vicente.  (Span.)  A  medal  at  the  Exposition  Univer- 
sal, Paris,  1867.  He  is  one  of  the  chief  painters  of  his  school,  and 
may  be  compared  with  Fortuny  in  certain  points,  and  with  Meissonier 
in  others.  Two  works  by  Palmaroli,  "  The  Listener  "  and  "  The  Con- 
noisseur," are  in  the  collection  of  Mr.  Theron  R.  Butler,  New  York. 
When  his  picture  of  "  The  Sermon  in  the  Sistine  Chapel "  was  on  ex- 
hibition it  attracted  much  attention.  The  following  extract  from  a 
writer  in  the  "  Gazette  des  Beaux- Arts  "  relates  to  this  work  :  — 

"  Since  the  first  day  of  the  Exposition  the  critics,  whose  enthusiasm  was  immediately 
excited,  group  themselves  eagerly  before  the  '  Sermon  in  the  Sistine  Chapel.'  It  is  be- 
cause one  is  always  attracted  by  works  in  which  effect  and  style  are  in  unity.  The  pic- 
ture of  Palmaroli  has  this  merit ;  it  is  harmonious,  it  is  tranquil,  it  is  sober,  and,  more- 
over, adequately  colored  ;  the  reds,  the  blacks,  the  whites,  the  browns,  are  so  marvel- 
ously  mingled  that  this  flourish  of  trumpets  (in  color)  does  not  cover  up  the  monotonous 
voice  of  the  preacher.  What  is  wanting  in  this  picture  (but  in  so  small  a  measure  that 
perhaps  I  ought  not  to  speak  of  it)  is  a  more  marked  character  in  the  physiognomies  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  161 


the  personages.  It  seems  that  such  an  artist  as  might  be  named  —  Meissonier,  for  ex- 
ample —  would  have  Taurine,  with  more  incisive  traits  the  laces  of  the  cardinals  and 
archbishops.  But  what  we  say  ought  not  to  hinder  the  sympathy  which  is  awakened  by 
the  picture  of  Palmaroli.  Even  after  the  '  Sistine  Chapel '  of  Ingres,  this  work  is  excel- 
lent. " 

Palmer,  Samuel.  (Brit)  Born  at  Walworth,  Surrey,  1805. 
He  studied  in  the  Antique  School  of  the  British  Museum  and  else- 
where, and  has  spent  his  professional  life  in  London  and  the  counties 
of  Kent  and  Surrey,  passing  two  years  in  study  and  observation  in 
Italy.  He  has  painted  in  oil  and  water  colors,  and  turned  his  atten- 
tion somewhat  to  etching.  About  1853  he  was  elected  a  member  of 
the  Etching-Club  and  a  full  member  of  the  Society  of  Painters  in 
Water-Colors.  Among  his  more  important  drawings  sent  to  the 
Water-Color  Exhibitions  in  different  seasons  are,  "  A  Dream  on  the 
Apennine,"  in  1864;  "The  Ballad,"  in  1860  (belonging  to  F. 
Craven)  ;  "  Pompeii "  and  "  St.  Paul  landing  in  Italy,"  in  1868  ; 
"The  Fall  of  Empire,"  in  1871  ;  "  A  Golden  City,"  in  1873  ;  draw- 
ings from  "  Comus,"  "L'Allegro,"  and  "II  Penseroso,"  and  "Tityrus 
restored  to  his  Patrimony,"  in  1877  ;  etc.     [Died,  1881.] 

"  Palmer's  studies  of  foliage  are  beyond  all  praise  for  carefulness.  I  have  never  seen 
a  stone-pine  or  a  cypress  drawn  except  by  him,  and  his  feeling  is  as  pure  and  grand  as 
his  fidelity  is  exemplary.  I  look  to  him,  unless  he  loses  himself  in  over-reverence  for 
certain  conventionalisms  of  the  elder  schools,  as  one  of  the  probable  renovators  and 
correctors  of  whatever  is  failing  and  erroneous  in  the  practice  of  English  art."  —  Ruskin's 
Modem  Painters. 

"  Samuel  Palmer  is  one  of  the  few  really  great  English  etchers,  but  as  it  results  from 
the  nature  of  his  work  that  each  plate  of  his  is  very  costly  in  time,  and  as  he  happens 
to  be  a  very  successful  painter  in  water-colors,  the  consequence  is  that  his  production 
in  etching  has  been  extremely  limited  If  ever  a  true  appreciation  of  art  shall  be- 
come general  among  our  descendants,  they  will  wonder  how  it  is  possible  that  Samuel 
Palmer,  to  whom  was  given  genius  and  length  of  days,  and  who  in  his  time,  as  they 
will  see,  was  one  of  the  most  accomplished  etchers  who  ever  lived,  should  have  left 
behind  him  just  half  a  dozen  plates."  —  Hamerton's  Etching  and  Etchers. 

Palmer,  Erastus  D.  (Am.)  Born  in  Onondagwa  County,  N.  Y., 
1817.  He  lived  in  Utica,  N.  Y.,  for  many  years,  following  his  trade, 
that  of  a  carpenter.  In.  1846  he  settled  in  Albany,  and  began  his 
professional  career  as  a  cutter  of  cameos,  pursuing  this  branch  of  his 
art  with  decided  success  until  1852,  when  he  executed  his  first  im- 
portant piece  of  sculpture,  "  The  Infant  Ceres,"  which  was  exhibited 
at  the  National  Academy  in  New  York,  and  attracted  much  atten- 
tion. "  Ceres  "  was  followed  by  "  The  Morning  Star,"  "  The  Evening 
Star,"  and  other  subjects  in  bas-relief.  Among  his  ideal  busts  are, 
"Spring,"  "Resignation,"  etc.  His  first  full-length  figure  was  the 
"  Indian  Girl,"  followed  by  the  "  White  Captive,"  "  Faith,"  "  The 
Emigrant's  Children,"  and  "Peace  in  Bondage."  Among  his  other 
works  are,  "  The  Little  Peasant,"  "  The  Sleeping  Peri,"  and  "  The 
Infant  Flora."  He  has  executed  portrait  busts  of  Moses  Taylor, 
Alexander  Hamilton  (belonging  to  Hamilton  Fish),  Erastus  Corning, 
Governor  Morgan,  Commodore  Perry,  and  other  prominent  men. 

K 


162     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


His  "Disappointment,"  at  the  Johnston  sale,  in  1876,  brought 
$  660.  His  bronze  statue  of  Robert  Livingston  was  at  the  Phil- 
adelphia Centennial  Exhibition  of  1876,  and  was  "  commended  for 
artistic  excellence,"  receiving  a  medal. 

Mr.  Palmer's  professional  life  has  been  spent  in  Albany.  He  made 
his  first  visit  to  Europe  in  1874,  observing  and  studying  the  masters, 
ancient  and  modern,  in  the  different  art  centers  of  the  Continent,  and 
working  for  some  time  in  Paris. 

"  Palmer's  cameo-cutting  was  bold,  distinct,  unevasive  ;  some  of  his  works  in  that 
line  are  perfect  gems,  and  far  more  satisfactory  than  most  of  the  cameo  portraits  for 

which  travelers  pay  such  exorbitant  prices  in  Rome  '  Ceres  '  was  idealized  with 

strict  regard  to  Nature  as  a  basis.  The  exquisite  contour  and  sublimated  infantile  ex- 
pression of  the  bust  attracted  a  crowd  of  delighted  gazers.  The  conception  proved  a 
remarkable  eye  for  beauty,  while  the  finish  indicated  an  exactitude  and  refinement  of 
chiseling."  —  Tuckerman's  Book  of  the  Artists. 

"  Undoubtedly  Palmer  has  a  poetic,  versatile  mind  His  favorite  mode  of  ex- 
pression is  allegory  or  symbolism.  Aiming  at  original  invention,  he  has  attained 
a  style  peculiar  to  himself.  ....  Perhaps  his  finest  conception  is  the  'Indian 
Maiden  finding  the  Cross  in  the  Wilderness. '  It  is  simple  and  suggestive,  the  figure  of 
the  maiden  being  far  more  refined  than  his  white  women.  'The  Ambush  Chief  is 
forcible  and  natural.  'The  Peri,'  '  Spirits'  Flight,'  'Peace  in  Bondage,'  '  Resignation,' 
'Morning,'  'Evening,'  '  Memory,' mostly  medallions,  although  somewhat  capriciously 
baptized,  manifest  the  varied  idealism  of  his  thought."  —  Jarves,  Art  Idea. 

"While  noting  how  thoroughly  American  the  fine  head  of  this  angel  is  [  'The  Angel 
at  the  Sepulcher '  ] ,  we  are  also  bound  to  note  that  both  in  face  and  figure  he  is 
of  a  very  fleshy  and  unangelical  type.  Indeed,  Palmer  has  always  shown  a  singular 
preference  for  phlegmatic  modes,  and  his  two  most  important  studies  from  the  nude, 
'  The  White  Captive '  and  'The  Indian  Girl,'  are  lacking  in  precisely  that  litheness 
which  is  one  of  the  chief  charms  of  the  best  antique  representations  of  the  nude  human 
figure.  Both  of  these  statues,  however,  have  very  admirable  qualities."  —  Great  Ameri- 
can Sculptors. 

Palmer,  Walter  L.  (Am.)  Native  of  Albany,  N.  Y.  Son  of 
Erastus  D.  Palmer.  He  studied  in  Paris,  returning  to  New  York, 
where  he  opened  a  studio  in  1877,  devoting  himself  to  landscape-paint- 
ing. He  sent  to  the  National  Academy,  in  1878,  "An  Interior"  (be- 
longing to  H.  G.  De  Forest)  and  "  Montigny-sur-Loing." 

"  An  '  Interior '  with  figures  is  one  of  the  brightest  things  in  the  room  [Union  League 
Club,  1878].  Mr.  Palmer's  sense  of  light  and  color  is  acute,  and  he  has  made  more  than 
a  faithful  transcription  in  his  choice  of  characteristic  accessories,  and  in  the  admirably 
introduced  young  gentlewoman  who  gives  to  the  scene  a  profoundly  human  interest."  — 
New  York  Evening  Post,  March  15,  1878. 

Pampaloni,  Luigi.  (Ital.)  Born  at  Florence  (1791  -  1847).  Pro- 
fessor in  the  Academy  of  Florence.  In  1827  he  first  attracted  atten- 
tion by  a  group  made  for  a  Polish  lady,  —  a  monument,  which 
represented  a  little  girl  sleeping,  and  a  boy  kneeling  by  her  side  with 
upturned  face  and  clasped  hands.  The  figure  of  the  boy,  under  the 
name  of  the  "  Praying  Samuel,"  became  popular  the  world  over.  It 
was  also  called  the  "  Orphan,"  and  as  it  appeared  at  about  the  same 
time  with  the  engraving  of  the  Duke  of  Reich stadt  in  the  same  atti- 
tude, it  added  to  its  popularity  in  some  quarters,  where  it  was  believed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  163 


that  Pampaloni  had  the  son  of  Napoleon  in  mind.  The  plaster  copies 
were  sold  in  immense  numbers.  He  made  several  other  similar  rep- 
resentations of  children,  but  the  majestic  figures  of  Arnolfo  dei  Lapi 
and  Brunelleschi  on  the  eastern  side  of  the  Cathedral  at  Florence  show 
more  fully  the  talent  of  this  sculptor.  He  modeled  the  Leonardo  of 
the  loggia  of  the  Uffizi,  and  made  the  colossal  Pietro  Leopoldo  at 
Pisa,  and  that  of  the  poet  Papi  at  Lucca. 

Pape,  Eduard  Friedrich.  (Ger.)  Born  at  Berlin,  1817.  Mem- 
ber of  the  Berlin  Academy  and  Professor  there,  where  he  also  studied 
as  well  as  under  Gerst.  His  principal  works  are  landscapes  and 
decorative  paintings,  of  which  there  are  a  number  in  the  new  Museum 
at  Berlin.  He  frequently  chooses  scenes  in  which  there  are  water- 
falls. At  the  National  Gallery,  Berlin,  are,  "  The  Rhine-Fall  at  Schaff- 
hausen"  and  "  Erl-Gletscher  auf  Handeck."  At  Berlin,  in  1876,  he 
exhibited  "  Lake  Maggiore,"  "  A  Woody  Landscape,"  and  "  Chiem- 
see." 

Paris,  Camille.  (Fr.)  Born  at  Paris.  Medal  in  1874.  Pupil 
of  Picot  and  A.  Scheffer.  At  the  Salon  of  1876  he  exhibited  "  The 
Temple  of  Neptune,  in  the  Latium."  His  picture  of  1874,  "  A  Bull 
of  the  Roman  Campagna,"  is  at  the  Luxembourg. 

Parker,  John  A.,  A.  N.  A.  (Am.)  Born  in  New  York,  1827. 
He  was  brought  up  to  commercial  pursuits  in  his  native  city.  He 
displayed  a  marked  taste  for  art  as  a  youth,  but  did  not  adopt  it  as 
a  profession  until  1859,  when  his  first  picture  was  exhibited  at  the 
National  Academy,  New  York.  He  studied  from  nature  in  the  Cats- 
kills  and  elsewhere,  and  has  spent  his  professional  life  in  Brooklyn, 
N.  Y.  He  was  one  of  the  original  members  of  the  Brooklyn  Art 
Association,  and  was  elected  an  Associate  of  the  National  Academy, 
New  York,  in  1864.  His  landscapes  are  in  the  possession  of  Dr.  Storrs, 
H.  E.  Pierrepont,  A.  A.  Low,  Cyrus  Butler,  and  other  gentlemen. 
To  the  Centennial  Exhibition  at  Philadelphia,  in  1876,  he  sent  "  Twi- 
light in  the  Adirondacks,"  belonging  to  Charles  Baxter. 

"  A  late  'Twilight,'  by  John  A.  Parker,  with  a  pathway  through  a  grove,  a  herdsman 
and  cattle  in  the  foreground,  and  the  church-spire  showing  through  the  trees,  is  sugges- 
tive of  Gray's  elegy.  The  artist's  honesty  of  purpose  is  shown  in  the  tenderness  with 
which  the  several  varieties  of  foliage  are  suggested.    Every  leaf  is  an  effort  carefully 

painted  The  sky  is  painted  in  rich  golden  tones,  and  against  it  is  shown,  in  delicate 

relief,  the  old  belfry  of  the  little  church,  and  the  interlaced  branches  of  the  trees.  Usu- 
ally very  little  drawing  is  shown  in  a  landscape  picture,  but  in  this  it  was  required  in 
the  tree  branches,  and  consequently  there  is  a  fine  display  of  it."  —  Brooklyn  Eagle,  De- 
cember, 1876. 

Parker,  Edgar.  (Am.)  Born  in  Framingham,  Mass.,  1840.  Por- 
trait-painter. He  has  spent  his  professional  life  in  Boston,  and  has 
received  no  instruction  in  painting.  Three  of  his  portraits  are  in 
Faneuil  Hall,  namely,  those  of  Charles  Sumner,  Henry  Wilson,  and 
Rear- Admiral  John  A.  Winslow.  He  has  also  painted  Hon.  Charles 
Hudson,  ex-Gov.  Onslow  Stearns  of  New  Hampshire,  Nathaniel  Haw- 


164     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


thorne,  etc.  William  and  Mary  Howitt  own  his  portrait  of  Margaret 
Foley.  Mr.  Whittier  gave  him  sittings  in  1875  for  a  portrait,  which 
is  the  only  original  likeness  of  the  poet  in  existence  except  one,  painted 
when  he  was  a  young  man,  by  Hoyt. 

Parmentier,  Luisa  von.  (Aus.)  Of  Vienna.  Medal  at  Phila- 
delphia, where  she  exhibited  "  Interior  of  the  Castle  Ruin,  Taufers, 
in  the  Tyrol "  and  "  A  Landscape."  John  F.  Weir,  in  his  report, 
says  : — 

"  In  landscape  Austria  did  not  exhibit  works  of  decided  merit ;  perhaps  nothing  in 
this  branch  of  art  was  more  pleasing  than  the  pictures  of  Luisa  von  Parmentier. " 

Parrot,  Philippe.  (Fr.)  Born  at  Excideuil.  Medals  in  1868, 
'70,  and  '72.  At  the  Salon  of  1877  he  exhibited  two  portraits  ;  in 
1875,  "Judgment  of  Paris"  and  two  portraits  ;  in  1874,  "The  Foun- 
tain "  and  a  portrait.  Among  his  other  works  are  "  Galatea  "  and 
numerous  portraits. 

Parsons,  Charles,  A.  N.  A.  (Am.)  Born  in  England,  1821.  He 
has  spent,  however,  the  better  part  of  his  life  in  the  city  of  New 
York,  studying  in  the  National  Academy  schools  and  from  nature  in 
the  vicinity  of  the  metropolis.  He  has  furnished  illustrations  for  nu- 
merous books,  magazines,  and  weekly  journals,  and  since  1862  has 
been  superintendent  of  the  Art  Department  of  the  publishing-house  of 
Harper  and  Brothers.  In  1860  he  was  elected  an  Associate  of  the  Na- 
tional Academy,  is  a  member  of  the  Artists'  Fund  Society  and  of  the 
Society  of  Painters  in  Water-Colors,  contributing  occasionally  to  the 
exhibitions  of  the  Academy.  He  sent,  in  1876,  to  the  Water-Color 
Society,  "Salem";  in  1877,  "November"  (belonging  to  J.  Henry 
Harper) ;  in  1878,  "  Gravesend  Bay." 

Parton,  Arthur,  N.  A.  (Am.)  Born  at  Hudson,  N.  Y.,  1842. 
Pursued  his  art  studies  under  William  T.  Richards  of  Philadelphia, 
spending  his  professional  life  in  the  city  of  New  York.  He  went  to 
Europe  in  1869,  and  returned  to  America  the  next  year.  He  is  a 
member  of  the  Artists'  Fund  Society,  and  was  elected  an  Associate  of 
the  National  Academy  in  1872.  Among  the  more  important  of  his 
works  are,  "  On  the  Road  to  Mount  Marcy,"  exhibited  at  the  National 
Academy  in  1874,  and  owned  by  Hon.  Charles  Farwell  of  Chicago, 
"  A  Mountain  Brook,"  at  the  National  Academy  in  1875  (purchased 
by  A.  T.  Stewart),  now  in  the  Stewart  Gallery.  His  "  November  "  is 
owned  by  Lord  Moncke,  formerly  Governor-General  of  Canada  ;  his 
"  Sycamores  in  Old  Shokan  "  is  in  the  possession  of  Amherst  Col- 
lege ;  "  Loch  Lomond  "  is  owned  by  H.  P.  Cooper.  His  "  Solitude " 
(belonging  to  W.  D.  Judson)  and  "  Stirling  Castle "  (belonging  to 
Bryce  Gray)  were  at  the  Centennial  Exhibition  of  1876.  [N.  A.,  1884." 

"  Arthur  Parton,  who  is  one  of  our  youngest  landscape-painters,  is  finishing  a  large 
study  from  nature  on  an  Adirondack  brook.  It  is  a  work  of  rare  merit,  and  the  fidel- 
ity with  which  the  trees  of  the  forest  and  undergrowth  are  painted  in  detail,  together 
with  the  running  water,  merits  the  highest  praise."  —  Art  Journal,  April,  1S75. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  165 


"  The  very  name  —  '  Mountain  Brook '  —  suggests  to  the  imagination  just  what  it  is,  a 
quiet,  lonely,  retired  spot,  among  the  recesses  of  a  wooded  pass  where  Nature  in  her 
wildest  mood  has  spread  out  her  giant  trees,  etc.  The  artist  has  imparted  to  the  scene 
the  'still quiet'  which  seems  to  reign  over  all,  and  the  'weirdness'  which  ever  attaches 
itself  to  Nature's  forest  scenes."  —  New  York  Express,  June,  1875. 

Partem,  Ernest.  (Am.)  Born  in  Hudson,  N.  Y.,  1845.  Younger 
brother  of  Arthur  Parton,  in  whose  studio  he  spent  two  winters,  re- 
ceiving, however,  no  instruction  in  art  from  regular  masters  or  in 
any  schools.  He  was  elected  a  member  of  the  Artists'  Fund  Society 
of  New  York  in  1873,  contributing  one  work  each  year  to  its  sales. 
In  1873  he  went  to  Europe  for  the  purpose  of  spending  a  few  months 
in  Great  Britain,  but,  meeting  with  success  in  London,  he  has  since 
remained  there,  exhibiting  frequently  at  the  Royal  Academy  and 
elsewhere.  In  1876  he  visited  the  Swiss  Lakes  and  Northern  Italy, 
making  many  sketches.  Among  his  most  important  works  are, 
"  Morning  Mist  "  (exhibited  in  New  York  in  1873  ;  belonging  now  to 
Dr.  Lutkins  of  Jersey  City),  "  Papa's  Lunch  "  (at  the  Royal  Academy 
in  1875),  "The  Placid  Stream"  (R.  A.,  1876),  "Sunny  September" 
and  "The  Poet's  Corner"  (R.  A.,  1877),  "  The  Silent  Pool,"  "  Reflec- 
tions," "Au  bord  de  l'eau,"  "On  the  River  Loing  "  (R.  A.,  1878), 
"Near  Capel  Cruig,  North  Wales,"  "Borrowdale  Meadows,"  "The 
Valley  of  the  Derwent"  and  "The  High  Hall  Garden"  (R.  A.,  1877). 
The  last  was  purchased  by  the  Art  Union  of  London. 

Pasini,  Alberto.  (Ital.^  Born  at  Busseto.  Chevalier  of  the  Or- 
ders of  Saints  Maurice  and  Lazarus,  and  of  the  Legion  of  Honor. 
Officer  of  the  Orders  of  Turkey  and  Persia.  Honorary  Professor  of  the 
Academies  of  Parma  and  Turin.  Pupil  of  Ciceri.  His  pictures  are 
principally  of  Oriental  subjects.  There  were  eleven  of  them  at  the 
Paris  Exposition  of  1878,  and  at  the  Salon,  same  year,  he  exhibited 
"  Yechil  Turbe,  a  Brousse  (Turkey  in  Asia),"  and  "  The  Door  of  a  Khan 
at  Brousse." 

Passini.  Ludwig.  (Ausi)  Born  at  Vienna,  1832.  Member  of  the 
Academies  of  Berlin,  Vienna,  and  Venice.  Medals  at  Berlin,  Paris, 
and  Vienna.  Studied  at  the  Vienna  Academy,  under  Karl  Werner, 
and  in  Italy.  Spent  some  time  in  Venice  and  Rome,  and  settled  in 
Berlin  about  1864,  but  has  made  several  journeys  to  Italy.  He  is 
very  skillful  in  water-colors.  He  paints  architectural  and  genre  sub- 
jects, also  portraits.  In  the  National  Gallery  at  Berlin  is  a  cartoon 
by  Passini  representing  the  "  Choir  Men  in  St.  Peter's  at  Rome."  His 
technique  is  perfect,  and  many  of  his  scenes  from  Roman  life  are  inter- 
esting. Among  his  works  are,  "  A  Roman  Woman  with  an  Infant," 
"Prebendaries  in  the  Church,"  and  "Penitence."  At  the  Johnston 
sale,  New  York,  1876,  a  water-color,  "  The  Monk  in  his  Cell"  (10  by 
8),  sold  for  $  270.  At  the  Paris  Exposition,  1878,  he  exhibited  "  A 
Procession  at  Venice,"  "  A  Bridge  at  Venice,"  and  "  A  Public  Reader 
at  Chioggia.'' 


166     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Passim,  who  should  not  be  confounded  with  Pasini  of  Paris,  is  widely  and  justly  cele- 
brated as  a  consummate  artist  in  water-color  representations  of  Italian  life. "  —  Benja- 
min's Contemporary  Art  in  Europe. 

Paton,  Sir  Noel.  (Brit.)  Joseph  Noel  Paton  was  born  in  Dunferm- 
line, Scotland,  1821.  He  was  the  son  of  a  designer  of  patterns,  who 
gave  him  his  first  instruction  in  drawings.  He  was  subsequently  a 
pupil  of  the  Royal  Scottish  Academy  in  Edinburgh,  and  of  the  Royal 
Academy  in  London.  In  1845  he  received  from  the  Commissioners 
of  Decoration  of  Westminster  Hall  a  prize  of  £  200  for  his  cartoon, 
"  The  Spirit  of  Religion,"  and  in  1847  a  prize  of  £  300  for  his  "  Recon- 
ciliation of  Oberon  and  Titania."  His  "  Quarrel  of  Oberon  and  Ti- 
tania  "  was  purchased  by  the  Scottish  Academy  in  1849,  and  placed 
in  the  National  Gallery  in  Edinburgh,  at  a  cost  of  £  700.  Among 
his  works  may  be  mentioned,  "  Thomas  the  Rhymer  and  the  Queen 
of  Fairyland,"  "The  Pursuit  of  Pleasure,"  "Nicker  the  Soulless," 
"The  Bluidy  Tryste "  (1858),  "The  Fairy  Raid"  (R.  A.,  1867), 
"  Caliban  "  (R.  A.,  1869),  "  In  Memoriam,"  and  "  Home  from  the  Cri- 
mea," the  property  of  the  Queen,  and  exhibited  at  the  International 
Exhibition  in  1862,  engraved,  and  very  popular.  Paton  was  knighted 
in  1867,  upon  his  appointment  as  Queen's  Limner  for  Scotland.  His 
"  Good  Shepherd  "  (belonging  to  the  Queen)  and  "  Caliban  listening 
to  the  Music  "  were  at  the  Paris  Exposition  of  1878.  [R.  S.  A.,  1850.] 

"  Paton  aims  always  at  a  higher  province  of  art  than  the  common  class  of  incidents, 
and  his  pictures  are  full  of  minute  detail,  not  only  natural,  which  he  paints  with  great 
delicacy,  but  of  that  antiquarian  character  which  cannot  be  obtained  without  pains  and 
study.  All  this  makes  us  regret  that  Mr.  Paton  persists  in  attempting  subjects  which, 
judging  from  the  results,  must  be  pronounced  quite  above  his  abilities.  He  is  an  exam- 
ple of  the  intellectual  illusion  which  mistakes  interest  in  an  art  for  a  power  in  it."  — 
Palgrave's  Essays  on  Art. 

"Foremost  in  its  class,  or  rather  prominent  in  that  original  walk  which  the  painter 
[Noel  Paton]  holds  exclusively  his  own.  we  pause  before  'Oskold  and  the  Ellemaids ' 
[at  the  Royal  Scottish  Academy,  1874],—  Oskold,  the  former,  being  the  embodiment  of  a 
pilgrim  soul,  fighting  his  way  through  the  perils  of  a  false,  lying  world  ;  the  latter  repre- 
sentative of  the  five  senses,  beautiful  sirens,  bent  on  the  cavalier's  ruin  through  their 
many  glittering  temptations.  Like  most  of  this  artist's  allegories,  the  rigidly  poetic  con- 
ception with  its  thousand  dreamy  suggestive  accessories  can  find  but  scant  justice  in 
word  description.  As  the  whole  scene  is  in  a  sense  spiritually  originated,  it  must  be  not 
only  materially  but  spiritually  discerned. "  —  London  Art  Journal,  April,  1874. 

Paton,  Waller  H.  (Brit.)  A  native  of  Dunfermline,  Scotland. 
Younger  brother  of  Sir  Noel  Paton  and  of  Mrs.  D.  O.  Hill.  He  was 
brought  up  as  a  banker.  Possessing,  however,  much  of  the  inherent 
talent  for  art  which  has  made  his  family  remarkable,  he  turned  his 
attention  to  painting,  devoting  himself  particularly  to  landscapes. 
He  is  an  artist  comparatively  self-taught,  and  has  spent  the  better 
part  of  his  professional  life  in  Edinburgh.  He  has  been  a  member  of 
the  Royal  Scottish  Academy  for  some  years,  contributing  frequently 
to  its  exhibitions,  as  well  as  to  those  of  the  Royal  Academy  in  Lon- 
don. Among  his  later  works  are,  "  Old  Homes  "  and  "New  Tenants," 
"  Decay  of  the  Forest,"  "  Falls  of  Tummel,"  and  others,  at  the  Royal 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  167 


Scottish  Academy  in  1878.  His  "  Lamlash  Bay,  Isle  of  Arran  "  is 
in  the  National  Gallery  of  Scotland  ;  his  "  Dell  without  a  Name  " 
was  at  the  Philadelphia  Exhibition  of  1876. 

"  In  all  of  Waller  Paton's  landscapes  there  is  a  strong  leaning  to  the  spiritual  above 
the  material,  —  as  little  of  the  human  as  must  be,  as  much  of  the  divine  as  may.  The 
'Summer  Evening,  Invercloy  Arran  '  [R.  A.,  1874],  although  entirely  faithful  in  feature 
to  the  locale,  is  handled  with  such  delicate  grace,  and  is  so  redolent  of  the  sweet  sanctity 
of  perfect  peace,  that  we  seem  to  gaze  rather  on  a  fairy  region  than  on  any  this  world 
can  offer. "  —  Art  Journal,  March,  1874. 

Patrois,  Isidore.  (Fr.)  Born  at  Noyers.  Chevalier  of  the 
Legion  of  Honor.  At  the  Salon  of  1877  he  exhibited  "  The  Visit » 
and  "The  First  Suspicion";  in  1876,  "In  the  Garden "  and  "  Le 
juge  intime";  in  1874,  "The  Reading,  —  Young  Russian  Girls," 
"  Confidences,"  and  "  Fruits."  Many  of  the  pictures  of  Patrois  are 
scenes  from  Russian  life.  "  The  Young  Mother  "  is  in  the  collection 
of  Mrs.  H.  E.  Maynard  of  Boston.  Near  St.  Petersburg  there  is  an- 
nually a  procession  of  Holy  Images,  which  is  intended  as  a  memorial 
of  the  procession  of  1832,  when  the  cholera  proved  so  fatal  in  Russia. 
Patrois  painted  a  picture  of  this  procession  in  1861,  which  is  in  the 
Luxembourg. 

Patten,  George.  (Brit.)  (1802  -  1865.)  Received  his  first  in- 
struction in  art  from  his  father,  a  miniature-painter  of  some  repute, 
devoting  himself,  after  studying  in  the  Royal  Academy,  to  that 
branch  of  art,  but,  later,  turning  his  attention  to  portraits  on  a 
larger  scale.  He  was  appointed  Portrait-Painter  to  the  Prince  Con- 
sort shortly  after  the  marriage  of  the  Queen,  enjoying  for  many  years 
the  patronage  of  British  Court  circles.  He  painted  a  few  ideal  pic- 
tures, but  was  more  successful  in  his  portraiture  of  living  subjects. 

Patten,  Alfred  Fowler.  (Brit.)  Born  in  London,  1829.  Son 
of  George  Patten,  pupil  of  his  father,  studying  also  for  some  time  in 
the  Royal  Academy.  He  has  exhibited  frequently  at  the  Royal  Acad- 
emy, and  in  the  gallery  of  the  Society  of  British  Artists,  of  which 
institution  he  has  been  a  member  for  some  years.  Among  his  later 
works  at  the  Royal  Academy  may  be  noted,  "  May-Day  Revelers 
fetching  forth  their  Queen,"  in  1870  ;  "  Happy  Springtime,"  in  1873; 
"  Reading  Robinson  Crusoe,"  in  1878.  To  the  Society  of  British  Art- 
ists he  sent,  in  1877,  "Lovers,  beware ! "  and  "Fresh  Flowers";  in 
1878,  "  Feeding  the  Ducks  "  and  "  La  belle  fleuriste." 

Pauwels,  William  F.  (Dutch.)  Born  at  Eeckeren,  1830.  Di- 
rector of  historical  painting  in  the  Academy  at  Weimar.  Pupil  of 
Wappers  and  De  Keyser.  Painter  of  historical  and  genre  subjects 
and  portraits.  Among  his  works  may  be  mentioned,  "  The  Widow 
of  Van  Artevelde,"  "  The  Proscribed  Victims  of  the  Duke  of  Alba," 
and  the  "  Calling  of  St.  Clara."  Pauwels  has  decorated  the  interior 
of  the  Hall  at  Ypres  ;  the  subjects  are  historical  scenes  from  1187  to 
1383,  such  as  "The  Founding  of  the  First  Hospital  in  Flanders," 
u  The  Return  of  Warriors  after  the  Battle  of  the  Golden  Spurs,"  etc. 


168     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


One  of  his  later  works  is  a  genre  picture  of  "  Queen  Philippa  of  Eng- 
land succoring  the  Poor  of  Ghent."  At  the  Corcoran  Gallery,  Wash- 
ington, is  his  "Justice  to  Lievin  Pyn,  1541." 

Pazzi,  Enrico.  (Ital.)  Born  at  Ravenna,  1818.  Knighted  by 
Victor  Emmanuel,  he  has  received  from  King  Humbert  the  highest 
pension  of  the  Commandery  of  the  Order  of  Saints  Maurice  and  Laz- 
arus. Professor  in  the  Academy  of  Florence  and  honorary  member 
of  many  Italian  and  foreign  academies  and  societies.  He  first  stud- 
ied in  the  Academy  of  Bologna  under  Professor  Santi;  later,  in  Flor- 
ence under  Dupre.  He  received  a  subsidy  from  the  city  of  Ravenna 
for  six  years,  to  enable  him  to  continue  his  studies.  In  1848  he  re- 
turned to  Bologna.  In  1868  his  statue  of  Dante  was  erected  in  the 
Piazza  Santa  Croce  at  Florence.  Later  he  modeled  a  statue  of  Savo- 
narola (intended  for  a  large  hall' in  the  Palazzo  Vecchio,  Florence) 
and  a  group  called  "  Venice  Enslaved."  He  was  summoned  to  Bel- 
grade in  Servia,  where  he  received  from  that  government  a  commis- 
sion to  erect  (in  bronze)  an  equestrian  statue  to  Michael  Obrenovicht 
III.  About  the  same  time  he  was  charged  with  the  erection  of  a 
monument  to  the  illustrious  Luigi  Carlo  Farini,  the  patriot  historian, 
in  the  Piazza  della  Stagione  at  Ravenna.  At  the  unveiling  of  this 
monument  Pazzi  was  made  a  citizen  of  the  town  of  Russi,  the  birth- 
place of  Farini,  and  it  was  also  upon  this  occasion  that  he  was  so 
highly  honored  by  King  Humbert.  One  of  the  earliest  works  of  this 
sculptor  was  "  The  Child  Moses  trampling  on  the  Crown  of  Pharaoh," 
and  one  of  his  latest  is  "  Lucretia." 

Peale,  Rembrandt.  (Am.)  Born  in  Pennsylvania  (1778- 1860). 
He  early  evinced  a  taste  for  art,  and  in  1795  painted  from  life  a  por- 
trait of  General  Washington,  frequently  copied  by  himself  and  others, 
and  well  known  through  the  engravings  after  it.  It  was  purchased 
by  the  United  States  Government  in  1832.  Peale  studied  art  under 
his  father  Charles  W.  Peale,  one  of  the  early  American  portrait- 
painters  in  Philadelphia,  opening  a  studio  of  his  own  in  Charleston, 
S.  C,  in  1796.  In  1801  he  went  to  London,  where  he  was  a  pupil  of 
Benjamin  West  until  1804.  He  lived  for  three  years  in  Paris,  return- 
ing to  America  in  1809.  Among  the  better  known  of  his  portraits 
are  those  of  President  Jefferson,  Mrs.  Madison,  Commodores  Bain- 
bridge,  Perry,  and  Decatur  (in  the  Gallery  of  the  New  York  Histori- 
cal Society)  ;  of  Houdon  the  sculptor  (in  the  Pennsylvania  Academy 
of  Fine  Arts)  ;  of  General  Armstrong,  and  an  equestrian  portrait  of 
Washington  (in  Independence  Hall),  and  many  people  of  note  on 
both  sides  the  Atlantic.  His  "  Errina  "  is  in  the  collection  of  H.  C. 
Carey  of  Philadelphia.  "  Wine  and  Cake  "  and  "  Italian  Peasant  " 
belong  to  James  L.  Claghorn  ;  "  Babes  in  the  Wood,"  to  Marshall  0. 
Roberts  ;  and  "  Song  of  the  Shirt,"  to  G.  W.  Riggs.  His  "  Court  of 
Death"  (a  large  canvas,  13  feet  by  24  feet)  has  been  frequently  litho- 
graphed and  engraved,  and  is  probably  the  best  known  of  his  works. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  169 


It  was  exhibited  in  almost  every  important  city  of  the  United  States. 
Rembrandt  Peale  was  the  author  of  several  books  :  "  Notes  on  Italy," 
published  in  1831;  "Reminiscences  of  Art  and  Artists,"  published 
in  1845  ;  besides  a  biography  of  his  father,  and  occasional  papers  on 
art  topics. 

Peale,  Sara  M.  (Am.)  Daughter  of  James  Peale.  She  studied 
under  her  father,  and  under  her  uncle  C.  W.  Peale  (the  founder  of 
Peale's  Museum),  devoting  herself  to  portrait-painting,  and  working 
at  her  profession  for  some  years  in  Baltimore  and  Washington,  where 
she  had  among  her  sitters  Lafayette,  Benton,  Henry  A.  Wise,  Caleb 
Cushing,  and  other  distinguished  men.  She  resided  in  St.  Louis  from 
1847  to  '77,  painting  there,  among  other  portraits,  one  of  Father 
Mathew.  She  went  to  Philadelphia  in  1878.  Of  late  years  she  has 
turned  her  attention  to  fruit-pieces. 

Pearce,  Charles  Sprague.  (Am.)  A  native  of  Boston.  He  has 
lived  for  some  time  in  Europe,  painting  under  Bonnat  in  Paris,  and 
spending  his  winters  at  Nice.  He  has  also  made  tours  in  Africa, 
Algiers,  etc.  He  has  devoted  himself  to  portraits  and  figure-pieces, 
exhibiting  in  the  Paris  Salon.  To  the  Centennial  Exhibition  at 
Philadelphia  in  1876  he  sent  "  L'ltalienne  "  ;  to  the  exhibition  of  the 
Society  of  American  Artists,  in  1878,  "  The  Lamentation  over  the 
First-Born  in  Egypt."  His  "  Pet  of  the  Harem  "  (belonging  to  R.  S. 
Fay),  and  the  "Lamentation"  and  others,  were  exhibited  at  the 
Mechanics'  Fair,  Boston,  1878.    [Medal  in  1883.] 

Peduzzi,  Renato.  (Ital.)  Of  Milan.  At  Philadelphia  he  ex- 
hibited "  A  Chimney-Piece  with  a  Boy  representing  Silence,"  "  A 
Boy  and  a  Swan,"  and  "  A  Dancing  Fawn,"  and  received  a  medal. 

Peele,  John  T.,  A.  N.  A.  (Brit.-Am.)  Born  in  Peterboro',  Eng- 
land, 1822.  Carried  to  America  by  his  parents  in  1824.  Began  the 
practice  of  art  in  Buffalo,  N.  Y.,  under  difficulties  and  with  no  art 
education.  He  painted  portraits  in  New  York,  Albany,  and  London, 
England,  settling  finally  in  New  York  about  1846,  where  he  turned 
his  attention  to  the  painting  of  ideal  subjects,  in  which  children  form 
the  principal  feature.  He  went  again  to  England  in  1851,  to  the  Isle 
of  Man  in  1858,  remaining  eight  years,  and  finally  took  up  his 
residence  in  Kent.  He  is  an  Associate  of  the  National  Academy  of 
Design,  New  York,  and  a  member  of  the  Society  of  British  Artists, 
in  whose  galleries,  as  well  as  in  those  of  the  Royal  Academy,  London, 
he  frequently  exhibits.  Among  his  works  are,  "  The  Children  of  the 
Wood,"  "  Grandma's  First  Lesson  in  Knitting,"  "  Music  of  the 
Reeds,"  "The  Little  Laundress,"  "Children  of  Robert  Thornton" 
(R.  A.,  1874),  "  Grace  before  Meat,"  "  Highland  Supper,"  "  Sunny 
Days  of  Childhood,"  "Asleep on  Duty,"  "One  Tune  More,"  "Blowing 
Bubbles,"  "  A  Monument  of  Suspense,"  and  "  The  Prayer  for  Health," 
many  of  which  have  been  engraved.  His  "  Children  of  the  Wood  " 
(purchased  by  Prince  Albert)  is  in  Osborne  House,  Isle  of  Wight. 

VOL.  II.  8 


170     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"Peele's  method  of  treating  juvenile  portraiture  is  both  commendable  and  pleasant; 
it  retains  the  individuality  while  it  takes  the  impersonation  out  of  the  category  of 

a  mere  portrait,  dressed  and  set  up  for  the  occasion  In  all  of  his  works  Mr. 

Peele's  aim  and  purpose  seem  to  have  been  to  show  as  much  of  the  poetic  side  of  nature 
as  is  consistent  with  his  subject,  to  preserve  its  individuality,  while  imparting  to  it 
something  beyond  mere  naturalism."  — Art  Journal,  May,  1876. 

Peiffer,  Auguste- Joseph.  (Fr.)  Born  at  Paris.  Pupil  of  Klag- 
niann.  Medal  of  the  third  class  in  1878,  when  he  exhibited  "  The 
Swallows,"  a  statue  in  marble. 

Peinte,  Henri.  (Fr.)  Born  at  Cambrai.  Prix  du  Salon,  1877. 
Pupil  of  Guillaume  and  Cavelier.  The  sensation  which  the  "  Sarpe- 
don "  of  this  artist  made  is  well  shown  in  the  extracts  below,  and 
when  it  is  found  so  artistic  and  beautiful  in  plaster  what  may  it  be  in 
some  more  artistic  material ! 

"  The  '  Sarpedon  '  of  Peinte  is  one  of  the  statues  most  justly  remarked  by  all  those 
who  have  studied  the  human  body  and  the  difficult  art  of  reproducing  it  with  originality. 
It  merits  the  prix  du  Salon  which  it  received."  —  Charles  Timbal,  Gazette  des  Beaux- 
Arts,  June,  1877. 

"  The  figure  is  solidly,  firmly  planted.  The  attitude  and  the  movement  are  exact  and 
correct.  The  design,  without  angles  or  heurts,  is  of  a  rare  elegance.  The  muscles  are 
wisely  treated,  without  exaggeration.  The  ensemble  is  irreproachable,  and  the  '  Sarpe- 
don,' in  bronze,  will  become  classic."  —  Mario  Proth,  Voyage  au  Pays  des  Peintres,  1877. 

Pellegrin,  Louis  Antoine  Victor.  (Fr.)  Born  at  Toulon,  1836. 
Made  his  debut  at  the  Salon  of  1864,  with  a  picture  of  "Louis  XIV. 
making  Presents  to  the  Duchess  of  Bourgogne  in  the  Apartments  of 
Mme.  Maintenon."  This  was  followed  by  "  Marie  Antoinette  wait- 
ing to  be  taken  to  the  Tribunal,"  "Vert -Vert,"  "Interior  of  the 
Church  of  Saint- Severin,"  "  Marie  Antoinette  conducted  to  the  Scaf- 
fold," etc.  He  exhibited  at  the  London  Academy,  in  1873,  "  Saint- 
Severin's  Church  at  Paris  on  Christmas  Eve." 

Pelouse,  Leon  Germain.  (Fr.)  Born  at  Pierrelaye.  Medals 
in  1873  and  '76.  Landscape-painter.  His  "  Souvenir  of  Cernay " 
(1872)  is  in  the  Luxembourg.  At  the  Salon  of  1877  he  exhibited 
two  views  in  Finistere,  one  an  evening  and  one  a  morning  effect. 
They  belonged  to  M.  Tabourier  and  M.  Hoschede. 

Fenley,  Aaron  Edwin.  (Brit.)  (1806-1870.)  Water-color 
artist,  painting  landscapes,  portraits,  and  rustic  figure-pieces.  He 
was  Professor  of  Drawing  at  Woolwich  Academy,  Water-Color  Painter 
to  William  IV.,  and  author  of  several  valuable  books  upon  art  sub- 
jects. 

Penne,  Charles  Olivier  de.  (Fr.)  Born  at  Paris.  Medal  in 
1875.  Pupil  of  Cogniet  and  Jacque.  At  the  Salon  of  1877  he  ex- 
hibited "Dogs  of  St.  Hubert"  and  "Fox  Hounds";  in  1876, 
"  The  Cry  of  the  Wild  Boar"  and  "English  Dogs"  ;  in  1875,  "Nor- 
man Dogs"  and  "Cerf  force, —tenant  les  abois."  At  the  Johnston 
sale  in  1876,  "The  Lost  Scent"  (12  by  18)  sold  for  $190  (water- 
color).  At  the  Salon  of  1878  he  exhibited  "  English  Dogs "  and 
"  Dogs  of  Saint-Germain  and  Skye." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  Ill 


Pennethorne,  Sir  James.  (Brit.)  Born  in  Worcester,  England, 
1801.  At  an  early  age  he  went  to  London,  studying  architecture 
under  Nash,  Pugin,  and  others.  About  1825  he  visited  the  Conti- 
nent, spending  some  time  in  study  in  Rome.  In  1840  he  was  appointed 
architect  and  surveyor  to  the  Commissioners  of  Woods,  and  turned  his 
attention  particularly  to  the  improvement  of  the  streets  of  London. 
Among  the  better  known  of  his  architectural  works  are  the  new  wings 
of  Buckingham  Palace  and  Somerset  House,  and  the  new  University 
of  London.  He  also  furnished  designs  for  the  laying  out  of  Battersea 
and  Victoria  Parks.    He  was  knighted  by  the  Queen  in  1870. 

Pereda,  Raimondo.  {Ital.)  Of  Milan.  At  Philadelphia  he  ex- 
hibited, "  Love's  Net,"  "  A  Child's  Grief,"  and  "  Pretence  and  Sym- 
pathy," in  sculpture.  At  the  Paris  Exposition  of  1878  he  exhibited 
a  group  in  marble,  called  "  Orphelins  de  mere." 

Perigal,  Arthur.  (Brit.)  A  native  of  London,  residing  for  many 
years  in  Edinburgh.  Landscape-painter.  Member  of  the  Royal 
Scottish  Academy,  exhibiting  there  and  at  the  Royal  Academy  in 
London.  Among  his  later  works  may  be  noted,  "Loch  Assynt, 
Sutherlandshire, "  "  Vesuvius,  from  Naples, "  "  At  the  Pier  at  Nairn," 
"  Arran,"  "  On  the  Jed."  "  A  Rough  Day,"  "  Evening  in  Skye, "  "  Loch 
Tromlie,"  "  Morning  in  Glen  Nevis, "  etc.  His  "  Moorland  near  Kin- 
loch  ewe,  Ross-shire"  is  in  the  Scottish  National  Gallery.  [Died,  1884.] 
Perignon,  Alexis.  (Fr.)  Born  at  Paris  (1806  -  1882).  Officer  of 
the  Legion  of  Honor.  Pupil  of  Gros.  This  celebrated  portraitist  is  dis- 
tinguished by  "  a  true  color,  a  firm  and  fine  pate,  with  elegance  of  form, 
grace  in  modeling,  and  a  sober  and  wise  execution."  Large  numbers 
of  his  portraits  have  been  exhibited  at  the  Salons.  Perignon  be- 
came, some  years  since,  the  Director  of  l'Ecole  des  Beaux- Arts  at 
Dijon.    He  exhibited  two  portraits  at  the  Paris  Salon  of  1878. 

Perkins,  Charles  C.  (Am.)  Born  in  Boston,  1823.  Chevalier  of 
the  Legion  of  Honor,  1867.  Corresponding  Member  of  the  French 
Institute,  1868.  President  of  the  Boston  Art  Club  1871-1880.  Mem- 
ber of  the  American  Academy  of  Arts  and  Sciences,  1874.  Honorary 
Director  of  the  Museum  of  Fine  Arts,  Boston,  1876.  Member  of 
the  New  England  Historical  Society,  1876.  Honorary  Member  of 
the  Metropolitan  Art  Museum,  New  York,  for  life.  President  of  the 
Handel  and  Haydn  Society  since  1875.  Mr.  Perkins  studied  oil- 
painting  under  Ary  Scheffer,  and  etching  under  Bracquemond  and 
Lalanne.  Though  not  a  professional  artist,  he  devotes  himself  to  the 
study  of  art  in  various  directions,  delivers  lectures  upon  subjects  con- 
nected with  etching  and  other  kindred  topics,  and  published  "  Tuscan 
Sculptors,"  two  volumes,  in  1864,  and  "  Italian  Sculptors,"  one  vol- 
ume, in  1867.  The  plates  in  these  books  were  etched  by  the  author, 
many  of  them  from  his  own  drawings.  In  1878  Mr.  Perkins  pub- 
lished "  Raphael  and  Michael  Angelo,"  a  biographical  and  critical 
essay. 


172     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  '  Italian  Sculptors  ;  being  a  History  of  Sculpture  in  Northern,  Southern,  and  East- 
ern Italy.'  Mr.  Perkins  continues,  we  trust  he  does  not  conclude,  hi3  valuable  popular 
dissertation  on  the  sculpture  of  Italy.  Having,  four  years  since,  given  us  an  excellent 
account  of  the  arts  in  marble  and  bronze  as  they  were  practiced  in  the  seats  of  the  old 
Etruscans  and  their  accessories,  he  turns  to  other  fields  in  that  peninsula,  which,  if  it 

was  not  the  birthplace,  has  been  the  Capua  and  the  grave  of  the  nobler  arts  The 

author  reviews  with  much  tact,  excellent  taste,  and  ample  learning,  the  sculptural 
schools  of  Rome,  Lombardy,  —  a  very  interesting  branch  of  the  subject,  wherein  he 
points  out  the  error  of  ascribing  the  arts  of  their  Italian  buildings  to  the  Lombard  tribe, 
rather  than  to  the  Maestro  Comacini,  or  freemasons,  and  traces  the  whole  history  of 
that  noble  branch  of  design,  —  Venice,  with  a  charming  school  of  the  greatest  wealth, 
Verona,  Vicenza,  Padua,  Mantua,  and  Brescia,  all  of  which  have  marked  characteristics, 
and  the  cities  of  Central  Italy,  Bologna,  Ferrara,  Modena,  Genoa,  Carrara,  etc.  Our 
verdict  on  this  admirable  work  is  given  with  pleasure,  not  only  on  account  of  the  taste, 
tact,  learning,  and  comprehensive  views  of  the  author,  but  because  his  literary  style  is 
clear,  his  research  large,  and  his  illustrative  power  rich."  —  London  Athenaeum,  January  2, 
1869. 

"  In  choosing  Raphael  and  Michael  Angelo  for  his  subjects,  Mr.  Perkins  sets  his  feet 

in  a  well-worn  track  Next  best  to  new  material,  however,  is  a  novel  and  lively 

presentation  of  the  old.  And  to  so  much  of  originality,  Mr.  Perkins  in  this  scholarly 
and  refined  treatise  can  lay  claim.  No  one  before,  if  our  memory  serves,  has  given  a 
sketch  of  these  two  great  artists  set  side  by  side  like  the  double  profile  on  an  antique  coin, 
one  shining  in  the  sunshine  of  youth  and  love  and  divine  achievement,  the  other  somber 
with  the  mighty  shadows  of  his  own  stormy  power."  —  Literary  World,  March,  1878. 

Perraud,  Jean  Joseph.  (Fr.)  Born  at  Monay  (1821-1876). 
Member  of  the  Institute,  ]  865.  Officer  of  the  Legion  of  Honor,  1867. 
Medal  of  Honor,  1869.  This  sculptor  was  the  pupil  of  Ramey  and 
A.  A.  Dumont,  and  of  l'J^cole  des  Beaux- Arts.  He  gained  the  grand 
prix  de  Rome  in  1847.  In  1863  he  exhibited  "The  Infancy  of  Bac- 
chus," now  in  the  Luxembourg,  which  reappeared  at  the  Exposition 
of  1867;  in  1869,  "Despair,"  now  in  the  Luxembourg,  which  was 
much  remarked,  and  "  Sainte-Genevieve,"  for  the  church  of  Saint-Denis- 
du-Saint-Sacrament.  Perraud  executed  a  figure  of  "  Justice  "  and 
two  caryatides  for  the  Palace  of  Justice,  and  a  group  of  the  "  Lyric 
Drama  "  for  the  New  Opera  House  at  Paris.  He  followed  the  classical 
traditions,  and  has  been  called  cold  and  mannered.  In  1866  he  ex- 
hibited at  the  Salon  two  portrait  busts;  in  1875,  "  The  Day,"  a  group 
in  marble,  for  the  Avenue  de  l'Observatoire,  and  two  portrait  busts; 
in  1874,  two  portrait  busts  ;  in  1873,  "  Galatea,"  statue  in  marble. 

"  '  The  Infancy  of  Bacchus '  is  the  work  of  a  sculptor  who  knows  all  the  secrets  of  the 
human  form,  and  excels  in  expressing  them,  even  in  the  attitudes,  which,  like  those  he 
has  given  to  these  figures,  make  most  prominent  the  hidden  details  of  the  interior 
structure  of  the  bones.  The  trunk,  the  limbs,  the  shoulders  of  the  fawn,  are  of  superb 
workmanship  ;  the  flesh,  although  virile  and  firm,  has  a  supple  delicacy  and  much  life  ; 
the  head  is  expressive  ;  the  little  Bacchus  is  also  full  of  delicacy  and  force  ;  in  fine,  the 
work  is  marvelously  brilliant  in  all  its  details.  We  believe,  at  the  same  time,  that 
in  the  next  figure  which  Perraud  cuts  in  marble  he  will  preoccupy  himself  more  with 
the  beauty  of  the  whole  effect  and  with  the  eurythmy  of  the  lines.  Perraud  is  a  sculp- 
tor, he  is  not  yet  a  statuary."  — Paul  Mantz,  Gazette  des  Beaux-Arts,  July,  1863. 

Perrault,  Ldon.  (Fr.)  Born  at  Poitiers.  Medals  at  Paris  in  1864 
and  '76,  and  one  at  Philadelphia.    Pupil  of  Picot  and  Bouguereau. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  173 


At  Philadelphia  he  exhibited  "  The  Bather  "  and  "  Repose,"  and  at  the 
Salon  of  1877,  "Jesus  Christ  in  the  Tomb"  and  a  portrait ;  in  1878, 
**  Maternal  Tenderness  "  and  a  portrait. 

Perret,  Aim 4.  (Fr.)  Born  at  Lyons,  1847.  Third-class  medal  in 
1877.  Pupil  of  F  ^cole  des  Beaux- Arts  of  his  native  city,  and  of  Vollon 
at  Paris.  He  exposed  several  works  at  Lyons,  and  had  already  attracted 
much  attention  when  he  made  his  debut  in  Paris,  at  the  Salon  of  1870, 
with  the  "  Gossips  of  the  Banks  of  the  Rhone,  —  in  the  Fog."  This  same 
year  he  came  under  the  influence  of  Vollon,  who  was  of  great  advantage 
to  him.  He  joined  the  army  in  1870,  and  after  his  duties  there  were 
ended,  he  made  his  journey  to  La  Bresse,  the  quaint  country  from 
which  he  has  drawn  so  many  inspirations.  Among  his  works  are, 
"  A  Baptism  in  La  Bresse  "  (1877),  "  A  Wedding  in  Bourgogne  in 
the  Eighteenth  Century  "  (1876),  "  Between  two  Fires  "  and  a  "  Ravine 
of  Bugey  "  (1875),  "  The  Oriental  "  and  "  Young  Girls  of  Macon."  At 
the  Salon  of  1878  he  exhibited  a  portrait  and  "  A  Dream  on  the  Grass." 

Perry,  E.  Wood,  N.  A.  (Am.)  Born  in  Boston,  1831.  Was  for 
some  time  in  a  mercantile  house  in  New  Orleans.  In  1852  went  to 
Europe  to  study  art,  visited  London  and  Paris,  and  settled  in  Diissel- 
dorf,  studying  under  Leutze  for  two  years  and  a  half,  and  was  in  the 
studio  of  Couture  in  Paris  for  one  year.  In  1857  he  went  to  Venice, 
holding  the  position  of  United  States  Consul.  In  1860  he  returned  to 
the  United  States,  and  visited  many  of  the  cities  of  the  South  and 
West,  where  he  was  well  regarded  as  a  portrait-painter.  He  spent 
three  or  four  years  in  San  Francisco,  and  went  to  the  Sandwich  Isl- 
ands ;  on  his  return  painting  portraits  of  Brigham  Young  and  other 
Mormon  leaders.  He  settled  in  New  York  in  1866,  and  contributed 
to  the  National  Academy,  in  1867,  "  Counting  the  Spoils."  In  1868 
he  was  made  Associate  of  the  National  Academy,  and  in  1869,  when 
he  exhibited  "  The  Weaver,"  he  was  made  Academician.  In  1870  he 
exhibited  "  Huidy,"  "  The  Contraband  of  Peace,"  and  "  The  Story  of 
the  Tiles  "  ;  in  1871,  "  The  Garibaldian,"  "  The  Lost  Art,"  "  The  Clock- 
Doctor,"  and  "  Saturday  Afternoon  "  ;  in  1874,  "  He 's  coming,  —  Anne 
Hathaway  "  (belonging  to  E.  E.  Dorman)  ;  in  1875,  "  The  Old  Story," 
"A  Good  Egg,"  and  "Heart's  Ease"  ;  in  1876,  "  A  Quilting-Party," 
"A  Bit  of  Gossip,"  "  A  Quiet  Afternoon,"  and  others  ;  in  1877,  "  The 
Sower,"  "Sweet  Corn,"  and  "A  Helping  Hand";  in  1878,  "The 
Story."  In  1876  he  sent  to  the  Water-Color  Exhibition,  "  A  Month's 
Darning"  and  "  Anne  Hathaway's  Kitchen"  ;  in  1877  (when  he  was 
elected  a  member  of  the  Society),  he  contributed  "  Spun  Out,"  "  A 
Nice  Book,"  and  "  The  Milkmaid."  His  "  Young  Franklin  and  the 
Press  "  belongs  to  the  Buffalo  Academy  of  Fine  Arts  ;  "  A  Month's 
Darning,"  at  Philadelphia,  in  1876,  is  in  the  collection  of  S.  V. 
Wright. 

"  Perry  at  the  present  time  occupies  a  place  very  nearly  at  the  head  of  our  American 
genre  painters.    He  was  one  of  the  first  of  them  to  paint  American  subjects,  and  the 


174     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


most  lowly  are  invested  with  a  poetry  of  feeling  and  delicacy  of  expression  which  are 
not  exceeded  by  any  of  his  contemporaries.  That  he  is  a  close  student,  the  wide  range 
of  his  domestic  subjects  gives  ample  evidence.  His  style  is  broad,  but,  in  connection 
with  it,  there  are  an  apparent  mellowness  of  execution  and  unity  of  sentiment,  which  are 
so  noticeable  in  the  best  works  of  the  modern  French  schools. "  —  Art  Journal,  July,  1875. 

"  Mr.  Perry  exhibited  three  pictures,  '  The  Weaver,'  '  Kept  In,'  and  '  Young  Franklin,' 
all  characteristic  and  distinctively  American.  This  artist  has  made  steady  progress,  and 
adhered  with  commendable  strictness  to  subjects  within  the  scope  of  his  powers  and 
sympathies,  and  he  has  gradually,  but  surely,  attained  a  command  over  his  materials  that 
is  worthy  of  high  praise.  His  pictures  are  illustrative  and  pleasing,  and  evince  a  con- 
scientious study  of  his  subject.  He  has  not  yet  attained  complete  mastery  of  the  figure, 
nor  are  his  pictures  free  from  labored  manipulation  and  thinness  of  method,  but  they 
evince  genuine  qualities  of  merit."  —  Pkof.  Weir's  Official  Report  of  the  American  Cen- 
tennial Exhibition  o/1876. 

Perry,  lone.  {Am.)  Born  in  the  city  of  New  York,  1839.  She 
studied  in  the  art  schools  of  the  Cooper  Institute,  New  York,  and  for 
some  months  was  a  pupil  in  painting  of  Mr.  Henry  Loop.  Her  pro- 
fessional life  has  been  spent  in  New  York,  and  her  works  are  exhibited 
in  the  galleries  of  Schaus,  Goupil,  and  others.  Among  her  paintings 
may  be  mentioned,  "  Called  by  the  Angels "  (belonging  to  Mrs. 
Younglove  of  Cleveland,  Ohio),  "  Fadalma  "  (belonging  to  Mrs.  A.  C. 
Longstreet  of  New  York),  "  Hypatia "  (belonging  to  Miss  Mary  L. 
Booth  of  New  York),  "  Romola "  (belonging  to  Miss  Bunce),  and 
"Heavenward,"  "  Consuelo,"  "  Aida,"  "Zenobia,"  "  Elsa  at  the  Com- 
ing of  Lohengrin,"  etc. 

"In  conception,  originality  of  treatment,  and  spirited  drawing,  this  work  ['Heaven- 
ward'] may  be  regarded  as  the  chef-d'ceavre  of  this  gifted  lady.  It  has  been  reproduced 
by  a  Paris  artist.  Mrs.  Perry  painted,  some  years  ago,  another  ideal  picture,  entitled 
'  Called  by  the  Angels,'  which  was  similarly  reproduced  and  is  now  having  a  large  sale 
in  the  United  States.  Both  works  evince  a  profound  study  of  the  old  masters,  and 
are  more  spiritedly  treated  than  almost  any  of  the  subjects  of  a  similar  character 
that  we  have  seen  in  the  American  school."  —  American  Register,  Paris. 

"Mrs.  lone  Perry  is  a  figure-painter.  Her  ideal  heads  are  widely  known  through 
their  lithographic  reproductions.  She  is  fond  of  making  studies  from  great  creations 
in  literature.  ....  Her  coloring  is  rich  and  yet  delicate.  Her  draperies  are  graceful 
and  conscientiously  arranged  and  completed.  Her  attitudes  are  both  natural  and  dig- 
nified. Her  flesh-tints  and  textures  are  tender  and  natural,  but  more  than  all  is  a 
superiority  of  character  which  she  never  fails  to  create  for  her  pictures."  —  Chicago 
Times. 

Perry,  John  D.  (Am.)  Born  at  Swanton,  Vt.,  1845.  By  profes- 
sion a  sculptor.  He  is  not  a  graduate  of  any  of  the  schools  of  art,  but 
has  studied  diligently  from  Nature  in  his  native  country,  and  from  the 
works  of  the  masters  on  the  continent  of  Europe.  He  lived  in  New 
York  in  1869  and  70,  but  has  passed  the  rest  of  his  professional  life 
in  Italy  and  Boston.  A  statue  for  the  Soldiers'  Monument  of  Swan- 
ton,  Vt.,  his  first  public  work,  was  unveiled  in  1868.  He  was  in 
Rome  in  1872  and  again  in  1873,  and  spent  the  years  1876  to  '78  in 
the  same  city.  He  has  made  many  portrait  busts,  including  those  of 
Horace  Greeley,  C.  R.  Train,  Attorney-General  of  Massachusetts,  Dr. 
Winslow  Lewis,  Mr.  and  Mrs.  Thomas  Mack,  H.  D.  Parker  of  Boston, 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


175 


and  others.  His  bust  of  Greeley  and  two  ideal  works,  Tennyson's 
"  Beggar  Maid  "  and  "  Christmas  Morning,"  all  in  marble,  are  in  the 
private  library  of  C.  Baker  of  Stanbridge,  Canada.  He  made  the 
statue  of  "  Morality  "  (one  of  the  sitting  figures  of  the  Plymouth  Mon- 
ument), "  Spring  "  (a  marble  bust  for  Mr.  Sankenau  of  Philadelphia), 
"  The  Two  Buds  "  (in  bas-relief,  plaster,  the  original  of  which  belongs 
to  Mrs.  H.  B.  Stowe),  statuette  of  Charles  Sumner,  etc.  His  "  Widow's 
Mite,"  life-size,  is  his  most  important  work,  not  yet  in  marble.  It 
has  been  highly  praised  in  Rome,  where  it  was  modeled  in  1878.  Of 
bis  statuette  of  Sumner,  the  late  J.  T.  Sargent  wrote  in  the  Boston 
Globe  :  — 

"  It  has  the  true  otium  cum  dignitate  which  the  right  treatment  of  the  subject 
claims,  and  withal  a  sort  of  home  look  and  familiar  social  grace  and  expression  which 
so  many  of  our  statues  of  public  men  seem  to  lack.  Its  facial  truthfulness  is  admirable, 
and  as  a  likeness  from  head  to  foot  it  is  without  defect.  The  pose  of  the  figure  is  fine, 
representing  Mr.  Sumner  in  an  easy  sitting  posture  at  a  desk,  with  his  right  arm  resting 
thereupon,  while  the  whole  person  has  the  dignified  aspect  so  peculiar  to  him." 

"  The  character  study  of  Charles  Sumner,  sitting  at  his  desk,  will  also  be  remembered 
as  one  of  his  successful  efforts.  A  bust  of  a  little  child,  in  marble,  at  the  Mechanic  Ex- 
hibition, is  interesting  as  showing  a  strong  bent  of  the  artist's  inclination,  his  children's 
heads  being  among  his  most  successful  realizations  of  character.  He  has  a  decided  sym- 
pathy with  childhood,  and  their  natural  ways  and  unstereotyped  expressions  are  always 
attained.  We  write  this  especially  after  having  seen  a  photograph  of  a  semi-ideal  bust 
of  a  child,  in  marble,  the  original  of  which  has  not  yet  arrived  from  Rome.  It  is  entitled, 
we  believe,  '  The  Butterfly,'  and  represents  a  little  child  looking  down  at  a  butterfly  that 
has  alighted  on  its  little  bare  shoulder,  its  own  bust  being  lost  in  a  bouquet  of  roses.  The 
face  of  the  child  is  charmingly  represented,  and  the  cutting  of  the  marble  has  been  done 
so  deftly  that  almost  the  softness  of  texture  of  the  skin  has  been  realized."  —  Boston 
Transcript,  October  29,  1878. 

Perugini,  Charles  Edward.  (ItaL-Brit.)  A  native  of  Italy, 
but  for  many  years  a  resident  of  England,  constantly  exhibiting  at  the 
Royal  Academy.  Among  his  later  pictures  are,  "  Playing  at  Work,"  in 
1872  ;  "Between  School-Hours,"  in  1873  ;  "  A  Cup  of  Tea"  and  "A 
Labor  of  Love,"  in  1874  ;  "  Gardening,"  in  1875  ;  "  Choosing  a  Nose- 
gay," in  1876  ;  "Finishing  Touches,"  in  1877  ;  "Roses  and  Butter- 
flies," in  1878.  He  sent  a  portrait  of  his  wife  to  the  Philadelphia 
Exhibition  of  1876,  and  "  The  Labor  of  Love  "  to  Paris,  in  1878. 

"There  is  much  grace  showing  itself  [in  'A  Cup  of  Tea,'  R.  A.,  1874],  as  well  in  the 
carefully  drawn  figure  of  a  young  lady  who  sips  the  cup  of  tea  as  in  the  general  harmony  of 
color  secured  for  the  whole  composition.  Mr.  Perugini  understands  the  sense  of  rich 
effect  in  setting  the  creamy  tints  next  the  flesh,  and  in  banishing  almost  entirely  the 
colder  colors."  —  Art  Journal,  June,  1874. 

Perugini,  Mrs.  C.  E.  (Kate  Dickens).  (Brit.)  Younger  daugh- 
ter of  Charles  Dickens,  and  wife  of  Charles  Edward  Perugini.  She 
works  in  her  husband's  studio,  and  sent  to  the  Royal  Academy  in 
1878  "A  Competitive  Examination  "  and  "  In  for  a  Scrape"  ;  the  pre- 
ceding year  she  contributed  "  An  Impartial  Audience."  Her  "  Music 
hath  Charms  "  was  at  the  Winter  Exhibition  of  the  Dudley  Gallery  in 
1877. 


176     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Mrs.  Perugini,  who  is  a  daughter  of  the  late  Charles  Dickens,  inherits  much  of  the 
subtle  and  delicate  humor  that  characterized  her  father.  A  picture  near  completion, 
charming  in  color  and  feeling,  represents  a  dainty  little  lady  seated  on  a  bench  in  a 
garden,  with  a  finger  uplifted,  reading  to,  or  cross-examining,  a  grown-up  peasant  girl, 
with  hands  held  in  orthodox  fashion  behind  her  back.  On  the  seat  at  the  child's  side 
are  an  attentive  group  of  dolls,  amongst  them  a  quaint  Japanese. "  —  Magazine  of  Art, 
May,  1878. 

Pesenti,  Domenico.  (Ital.)  Born  at  Medole,  near  Brescia,  about 
1852.  Medal  at  Naples,  1877.  A  fine  artist,  who  paints  both  in  oil  and 
water  colors.  His  "  Choir  of  Santa  Maria  Novella,  Florence,"  in  oils,  is 
in  the  Bodleian  Library  at  Oxford.  The  "  Arch  of  San  Giorgio  at 
Florence,"  in  water-colors,  is  owned  in  Boston,  and  is  very  fine.  It 
was  painted  upon  a  special  commission,  and  has  never  been  duplicated 
or  exhibited  in  public.  The  character  and  costume  figures,  in  water- 
colors,  by  this  painter  are  fine,  and  are  very  popular  among  the  Eng- 
lish and  American  connoisseurs  who  visit  Italy.  Several  of  these  are 
owned  in  Boston.    "  A  Violin-Player  "  belongs  to  Dr.  G.  C.  Clement. 

Peters,  Anna.  (Ger.)  Born  at  Mannheim,  1843.  Medals  at 
Vienna,  London,  Munich,  Amsterdam,  and  Antwerp.  Pupil  of  B.  F. 
Peters  in  Stuttgart.  She  has  traveled  extensively,  and  has  painted 
some  decorative  works  in  several  German  castles.  Her  subjects  are 
flowers  and  fruits.  At  the  National  Gallery,  Berlin,  is  her  "  Roses 
and  Grapes." 

Petersen,  John  E.  C.  (Dane.)  Born  at  Copenhagen  (1839-1874). 
Studied  at  the  Academy  of  Copenhagen,  and  under  Melbye  and  Dahl. 
During  the  Schleswig-Holstein  war  he  served  as  an  officer  of  Danish 
infantry.  In  1865  he  went  to  America,  where  he  remained  during 
his  life.  There  was  an  exhibition  of  his  works  at  the  Boston  Art 
Club,  which  showed  his  progress  during  ten  years.  Some  of  these 
pictures  were  considered  quite  remarkable,  and  the  later  were  far 
superior  to  the  earlier  ones. 

Petri,  Heinrich.  (Ger.)  Born  at  Gottingen  (1834- 1871).  His- 
torical painter  at  Diisseldorf.  In  1858  he  went  to  Rome.  Among 
his  works  are  a  "Mater  Dolorosa"  and  a  large  altar-picture,  for  a 
church  in  Portugal  ;  a  mural  painting,  in  a  church  at  Wellbergen  in 
Westphalia  ;  a  decorative  work,  consisting  of  three  pictures,  in  a 
church  on  the  island  of  Nonnenwert,  near  Rolandseck  ;  a  "  Descent 
from  the  Cross  "  and  a  "  Madonna,"  which  were  painted  for  the  Queen 
of  Holland  ;  a  "  Madonna  at  the  Cross,"  for  a  church  in  Russia  ;  etc. 
Petri  also  made  cartoons  for  glass  paintings,  and  superintended  their 
execution.    His  portraits  were  excellent. 

Pettenkofen,  Auguste.  (Aus.)  Born  at  Vienna,  1823.  Cheva7 
lier  of  the  Order  of  the  Crown  of  Oak.  Studied  at  the  Academy  of 
Vienna  at  a  period  when  the  school  was  in  decadence.  At  length, 
after  passing  the  required  time  in  the  army,  where  he  became  a 
captain,  he  laid  aside  the  sword  for  the  brush.  He  studied  Wouver- 
mans,  Paul  Potter,  and  Van  de  Velde,  and  about  1851  went  to  Paris. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  177 


While  there  he  painted  "  Soldiers  in  Wait  for  a  Spy  at  the  Door  of 
a  Cottage "  and  "  Marauders  in  a  Field  of  Grain  dividing  their 
Booty."  The  last  was  purchased  for  the  collection  of  Sir  Richard 
Wallace.  M.  Van  Cuyck  so  admired  the  "  Marauders  "  that  he  gave 
the  artist  an  order  for  two  pictures,  "  Scene  after  a  Duel "  and  "  Hun- 
garian Volunteers."  The  last  established  the  reputation  of  the  artist, 
and  was  sold  to  M.  Rone,  who  exhibited  it  at  the  Cercle  de  l'Union 
Artistique.  But  M.  Van  Cuyck  regretted  the  picture  so  much  that  at 
length  he  repurchased  it,  saying  that  only  death  should  separate  him 
from  it.  After  his  decease  it  was  sold  to  a  London  merchant,  who 
sent  it  to  Vienna.  At  length  it  was  purchased  by  M.  Sedelmeyer  for 
16,200  florins.  This  work  was  also  exhibited  at  the  Palais  Bourbon 
for  the  benefit  of  the  Alsaciens-Lorraines,  and  also  at  Vienna  in 
1873,  at  which  time  the  Emperor  of  Austria  decorated  the  painter  of 
it.  Among  the  works  of  Pettenkofen  may  also  be  mentioned,  "  A 
Hungarian  Village  "  (in  the  Collection  Dreyfus),  "  Gypsies  Bathing  " 
(Baron  Liebig),  "  The  Market  of  Sznolnok "  (the  architect  (Etgelt, 
Vienna),  etc.  He  has  also  executed  numerous  drawings  and  water- 
colors,  which  always  sell  for  high  prices.  He  now  resides  much  in 
Italy,  and  sends  out  no  pictures.  At  a  Paris  sale,  in  1871,  "A  Hun- 
garian Market"  sold  for  £  228.  At  Paris,  in  1876,  "Hungarian 
Gypsies  sold  to  Herr  Kolbacher  of  Frankfort  for  5,360  francs.  At 
the  Oppenheim  sale,  Paris,  1877,  "Austrian  Cavaliers  passing  a 
Ford"  sold  to  the  Frankfort  Museum  for  5*, 400  francs.  In  1876,  at 
Vienna,  in  the  yearly  exhibition,  Pettenkofen  exhibited  a  remarkable 
picture  of  a  "  Market-Scene  in  Hungary." 

Pettie,  John,  R.  A.  (Brit.)  Born  in  Edinburgh,  1839.  Re- 
ceived his  art  education  in  the  Trustees  Academy  and  in  the  Life 
Schools  of  the  Royal  Scottish  Academy,  exhibiting  his  first  picture, 
"  The  Prison  Pet,"  in  Edinburgh  in  1859.  Among  his  early  works 
are,  "  False  Dice,"  "  Distressed  Cavaliers,"  "  One  of  Cromwell's  Di- 
vines," etc.  He  first  exhibited  at  the  Royal  Academy  in  London  in 
1860,  "  The  Armorers,"  followed  by  "  The  Trio,"  "  The  Tonsure,"  and 
"The  Drum-Head  Court- Martial"  (which  attracted  much  attention, 
and  led  to  his  election  as  an  Associate  of  the  Royal  Academy  in  1867). 
In  1866  he  sent  "Arrest  for  Witchcraft";  in  1868,  "The  Re- 
hearsal"; in  1869,  "The  Disgrace  of  Cardinal  Wolsey";  in  1870, 
"  'T  is  Blythe  May-Day "  ;  in  1872,  "  Terms  to  the  Besieged  "  ;  in 
1873,  "Sanctuary"  ;  in  1874  (when  he  was  elected  Academician), 
"  Juliet  and  Friar  Laurence  "  ;  in  1875,  "  Jacobites,  1745  "  (his  di- 
ploma work)  ;  in  1876,  "The  Threat"  and  "  Home  Ties"  ;  in  1877, 
"  Hunted  Down  "  and  "  A  Sword  and  Dagger  Fight  "  ;  in  1878,  "  A 
Member  of  the  Long  Parliament,"  "  Rob  Roy,"  and  "  The  Laird." 

Among  Pettie's  other  works  are  several  portraits  in  modern 
and  ancient  costume,  and  "  Battledoor,"  "  Persuading  Papa,"  "  Old 
Mother  Hubbard,"  "The  Visit  to  the  Necromancer,"  etc.  He  re- 
8* 


178     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


moved  to  London  in  1863.  To  Philadelphia,  in  1876,  he  sent 
"Sanctuary,"  "Touchstone  and  Audrey,"  a  portrait- of  George  H. 
Boughton,  and  "  The  Smuggler  and  Exciseman  "  (belonging  to  W.  P. 
Frith,  E.  A.)  ;  to  Paris,  in  1878,  "  The  Flag  of  Truce/'  «  Terms  to 
the  Besieged,"  "  The  Threat,"  and  several  portraits. 

"Without  exaggeration,  but  with  enough  of  sympathetic  treatment,  the  sentiment  of 
the  scene  [ '  The  Flag  of  Truce,'  R.  A.,  1873]  is  brought  home  to  the  spectator.  It  is  a 
story  on  canvas,  well  and  clearly  told,  serious  in  its  import,  and  tenderly  pathetic  in  its 
influence. "  —  Art  Journal,  July,  1873. 

"  I  have  been  examining  the  painting  of  the  chief  Jacobite  face  very  closely.  It  is 
nearly  as  good  as  a  piece  of  old  William  Hunt,  but  Hunt  never  loaded  his  paint,  except 
on  sticks  and  mosses  and  such  like.  Now  there 's  a  wrinkle,  quite  essential  to  the  ex- 
pression, under  the  Jacobite's  eye,  got  by  a  projecting  ridge  of  paint,  instead  of  a  proper 
dark  line."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Pfuhl,  Johannes.  (Ger.)  Born  in  Lowenberg,  1 846.  Studied 
under  Schievelbein  in  Berlin.  With  no  hope  of  success  he  sent  in  for 
approbation  sketches  for  the  Uhland,  Goethe,  and  Stein  monument 
erected  at  Nassau.  The  decision  of  the  judges  gave  him  the  com- 
mission. His  success  was  such  that  he  also  received  a  command  for 
an  elaborate  frieze  for  the  Cadet-house  at  Lichterfelde.  Pfuhl  has 
visited  Italy.  He  has  also  executed  some  portrait  busts  and  a  few 
ideal  subjects,  among  which  are  "  The  Inquisitive  Girl."  In  Berlin, 
in  1876,  he  exhibited  a  bust  of  Goethe  made  from  a  mask  taken  when 
he  was  fifty  years  old,  a  bust  of  Prince  Otto  von  Bismarck,  and  a  por- 
trait bust  of  a  woman. 

Phelps,  W.  P.  (Am.)  Born  in  New  Hampshire.  Began  life  as 
a  sign-painter  in  Lowell,  Mass.,  his  work  in  that  line  attracting  much 
attention.  Later,  he  devoted  himself  to  landscape  art,  entirely  with- 
out a  master.  Through  the  kindness  of  several  Lowell  gentlemen  he 
was  enabled  to  go  to  Germany,  and  he  remained  three  years  in  Mu- 
nich under  Velten.  He  returned  to  Lowell  with  some  twenty  of  his 
landscapes,  all  of  which  met  with  ready  sale  ;  two  companion  pieces, 
"  Morning  "  and  "  Evening,"  being  purchased  by  the  Art  Association 
of  that  city.  His  "  Forest  Scene  near  Munich  "  and  "  Morning  " 
and  "  Evening "  were  at  the  National  Academy,  New  York,  in 
1878. 

Philippoteaux,  Felix-Emmanuel-Henri.  (Fr.)  Born  at  Paris, 
1815.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Cogniet.  The 
works  of  this  artist  are  seen  in  many  European  galleries.  "  Louis 
XV.  visiting  the  Battle-Field  of  Fontenoy  "  is  at  the  Luxembourg. 
Many  of  his  subjects  are  military,  but  he  has  occasionally  painted 
other  pictures,  such  as  "  Deception,"  "  Keturn  from  the  Inn,"  "  Moor- 
ish Women,"  etc.  His  larger  works  are  so  numerous  that  no  proper 
list  can  be  given  here.  At  the  Royal  Academy,  London,  1876,  he 
exhibited,  "  The  Charge  of  the  English  Heavy  Cavalry  at  the  Battle 
of  Balaklava  "  ;  in  1875,  "  The  Charge  of  the  French  Cuirassiers  at 
Waterloo."    Some  of  his  works  are  at  Versailles  ;  and  "  The  Last 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  179 


Banquet  of  the  Girondins,"  at  the  Museum  of  Marseilles.  Philip- 
poteaux  has  made  many  designs  for  illustrated  publications. 

Phillip,  John,  R.  A.  (Brit.)  Born  in  Scotland  (1817-1867). 
Studied  and  practiced  drawing  at  home  under  many  discouragements 
until  1834,  when  he  made  his  first  visit  to  London  to  see  the  Ex- 
hibition of  the  Royal  Academy.  Through  the  kindness  of  influential 
Scottish  friends  he  was  enabled  to  enter  the  schools  of  the  Royal 
Academy  in  1837,  remaining  two  years.  Between  1839  and  '41  he 
painted  portraits  in  Scotland,  when  he  settled  permanently  in  London, 
exhibiting  his  first  picture,  "  The  Catechism,"  in  the  Royal  Academy 
in  1847.  Later,  he  sent  "  The  Free  Kirk,"  "  The  Baptism,"  "  Draw- 
ing for  the  Militia,"  and  other  kindred  and  clever  studies  of  Scottish 
character.  He  went  to  Spain  in  1851,  in  '52,  in  '56,  and  '60,  re- 
maining some  time  at  each  visit,  studying  enthusiastically  in  the 
Spanish  schools,  and  changing  visibly  the  style  of  his  own  work.  In 
1853  he  painted  his  "Visit  to  the  Gypsy  Quarter";  in  1854,  his 
"Andalusian  Letter- Writer  "  (belonging  to  the  Queen).  His  "  Death 
of  the  Contrabandista  "  was  painted  in  1858,  shortly  after  his  election 
as  Associate  of  the  Royal  Academy.  He  was  made  Academician  in 
1859.  In  1860  he  painted  his  "  Marriage  of  the  Princess  Royal,"  a 
commission  from  the  Queen.  He  continued  to  paint  Spanish  pictures, 
of  which  he  was  very  fond,  and  in  which  he  was  very  successful,  un- 
til his  death  in  1867.  In  1862  he  exhibited,  at  the  Royal  Academy, 
"  Dolores  "  and  "  A  Spanish  Volunteer  "  ;  in  1863,  "  Acqua  Bendita  "; 
in  1864,  "  La  Gloria,  — a  Spanish  Wake  ";  in  1865,  "  The  Early  Career 
of  Murillo  "  ;  in  1866,  "  A  Chat  round  the  Brasiers  "  ;  in  1867,  "  An- 
tonio "  and  two  Scottish  figure-pictures  ;  "0  Nannie,  wilt  thou  gang 
with  me?"  and  "A  Highland  Lassie  Reading."  His  "Doubtful 
Fortune,"  "  Round  the  Brasiers,"  "  Dolores,"  and  "  Wine-Drinkers  " 
were  at  Paris  in  1878. 

"  Remembering  the  more  delicately  executed  and  more  carefully  composed  scenes 
with  which  Mr.  Phillip  some  years  ago  founded  his  reputation  as  a  painter  of  Spanish 
life,  we  doubt  whether  the  brilliant  '  Early  Career  of  Murillo,'  which  forms,  we  suppose, 
the  most  popular  success  of  the  Exhibition  [R.  A.,  1865],  will  be  valued  quite  as  highly 

when  its  first  charm  has  passed  On  the  whole,  while  cordially  admiring  the  work, 

we  feel  that  this  is  rather  a  case  in  which,  according  to  the  old  proverb,  '  accident  helps 
art '  than  an  example  of  advancing  excellence."'  —  Palgrave's  Essays  on  Art. 

"  Phillip's  prominent  faults  were  an  amount  of  coarseness  and  an  absence  of  subtlety 
in  his  works.    His  merits  were  those  of  native  vigor,  and  of  the  acquisition  of  a  rich 

and  mellow,  if  exaggerated,  type  of  form  and  color  The  Spectator  says, 

'  Phillip,  with  a  nice  discrimination  of  character,  had  a  subtlety  in  its  expression  which 
belonged  to  him  alone.'  "  —  Mrs.  Tytler's  Modern  Painters. 

Pickersgill,  Henry  W„  R.  A.  {Brit.)  (1782-1875.)  Brought 
up  to  commercial  pursuits,  but  relinquished  business  for  art  while 
still  a  young  man,  and  entered  the  Royal  Academy  in  1805.  In  the 
commencement  of  his  professional  career  he  devoted  himself  to  sub- 
jects of  historic  or  ideal  character  ;  later,  turning  his  attention  to  por- 


180     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


trait-painting,  in  which  branch  of  the  profession  he  was  popular  and 
successful.  He  had  among  his  sitters  many  distinguished  men  of 
Great  Britain,  including  Robert  Vernon  (painted  in  1846,  and  now  in 
the  National  Gallery),  Sir  John  Bowring,  George  Peabody,  etc.  Mr. 
Pickersgill  was  elected  an  Associate  of  the  Royal  Academy  in  1822, 
and  Academician  in  1826,  Librarian  in  1856,  and  in  1873  he  was 
placed  on  the  list  of  Honorary  Retired  Academicians.  At  the  Na- 
tional Gallery  are  his  "  Nun  "  and  "  A  Syrian  Maid."  Among  his  later 
works,  exclusive  of  portraits,  are,  "  A  Falconer  of  the  Olden  Time," 
in  1861  ;  "  The  Rivals,"  in  1862  ;  "  The  Murder  of  Desdemona/'  in 
1864  ;  "The  First  Lesson,"  in  1871  ;  "The  Streamlet"  (his  last  ex- 
hibited work),  in  1872,  In  1870  he  sent  to  the  Royal  Academy  his 
portrait  of  the  Countess  Guiccioli,  painted  from  life  in  1832,  but 
completed  in  1869. 

Pickersgill,  Henry  H.  (Brit)  Son  of  Henry  W.  Pickersgill,  and 
an  historical  portrait-painter  of  some  promise,  who  died  in  1861.  He 
received  his  art  education  in  Germany  and  Italy,  and  resided  for 
some  time  in  St.  Petersburg,  spending,  however,  the  later  years  of  his 
life  in  England.    His  portraits  were  highly  regarded, 

Pickersgill,  Frederick  R„  R.  A,  (Brit.)  Born  in  1820.  A 
relative  of  Henry  W.  Pickersgill,  R.  A.,  and  nephew  of  W.  Withering- 
ton,  whose  pupil  he  was.  He  entered  the  Royal  Academy  in  1840, 
exhibiting  the  next  year,  and  regularly  for  many  seasons.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1847,  and  Academician 
in  1857.  Among  his  early  works  may  be  noted,  "  Amoret  delivered 
from  the  Enchanter,"  "Britomartis  unveiling  Amoret,"  "Sampson 
Betrayed,"  "Christ  blessing  Little  Children,"  and  others.  In  1861 
he  exhibited  "  Frederick  banishing  Rosalind  "  ;  in  1862,  "  The  Re- 
turn of  a  Crusader"  ;  in  1863,  "  Ferdinand  and  Miranda";  in  1865, 
"Unfriended";  in  1868,  "Columbus  at  Lisbon";  in  1875,  "Old 
Letters."  He  was  elected  Keeper  and  Trustee  of  the  Royal  Academy 
in  1874.  In  1843  he  received  a  prize  at  the  first  Cartoon  Exhibition 
for  his  "Death  of  King  Lear."  His  "Burial  of  Harold"  (in  the 
House  of  Parliament)  won  a  prize  in  1847.  His  "  Amoret,  iEmelia 
and  Prince  Arthur"  (R.  A.,  1845)  was  purchased  by  Mr.  Vernon, 
and  is  in  the  National  Gallery.  His  "  Death  of  Francesco  Foscari  " 
was  in  the  collection  of  the  late  Prince  Albert. 

Picknell,  W.  L.  (Am.)  Born  in  the  State  of  Vermont,  about 
1852.  Went  to  Europe  in  1874,  studying  with  Inn  ess  in  Rome  two 
years,  and,  later,  for  a  few  months,  under  Gerome  in  Paris.  He  has 
lived  and  painted  in  Brittany,  working  under  Robert  Wylie  until 
the  time  of  that  artist's  death.  To  the  Royal  Academy,  London,  in 
1877,  he  sent,  "Breton  Peasant-Girl  feeding  Ducks"  ;  in  1875,  "  On 
the  Lande,  Brittany."  To  the  Paris  Salon,  in  1878,  he  contributed 
"  The  Fields  of  Kerren."    [Honorable  mention,  Salon,  1880.] 

Picot,  Francois-Edouard.    (Fr.)    Born  at  Paris  (1786-1868) 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  181 


Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of 
Vincent  and  l'l^cole  des  Beaux- Arts.  Soon  after  his  debut  he  was 
commissioned  to  decorate  two  ceilings  at  the  Louvre,  where  he  exe- 
cuted some  grand  compositions.  He  has  also  painted  ceilings  in  the 
galleries  at  Versailles.  He  was  associated  with  Flandrin  in  the 
interior  decoration  of  the  church  of  Saint- Vincent  de  Paul. 

Pietrasanta,  Angelo.  (Ital.)  Born  at  Milan  (1836  -  1876).  Pu- 
pil of  Hayez  and  a  pensioner  at  Rome.  On  his  return  to  Milan  he 
was  made  Honorable  Member  of  the  Academie  des  Beaux- Arts.  He 
executed  frescos  in  several  churches  in  the  neighborhood  of  Milan, 
and,  for  the  gallery  of  Victor  Emmanuel  in  that  city,  the  allegorical 
figures  of  Europe  and  Science.  His  drawing  was  very  correct.  At  the 
Villa  Oppenheim,  Florence,  he  painted  "  Love  and  Psyche  "  and  nine 
figures  of  women  of  the  time  of  Louis  XIV.  These  last  were  so  ad- 
mired that  he  had  several  orders  to  copy  them.  His  frescos  were  his 
best  works. 

Pille,  Henri.  (Fr.)  Born  at  Essommes  in  l'Aisne.  Medals  in 
1869  and  '72.  Pupil  of  Francois  Barrias.  Many  of  his  pictures  are  his- 
torical and  familiar  scenes,  but  whatever  he  paints  he  pays  great  atten- 
tion to  his  costumes  and  details,  and  renders  all  with  much  skill. 
He  exhibited  at  the  Salon  in  1870,  "  Sancho  recounting  his  Exploits  to 
the  Duchess"  and  "A  Cabaret  at  Todtnau"  ;  in  1872,  "Autumn"  ; 
in  1873,  "  Matrimonial  Accord  "  and  "  The  First-Born  "  ;  in  1874, 
"A  Pardon  near  Guemene  "  ;  in  1875,  "  The  Reading  of  the  Decree 
of  February  24,  1793,  in  Brittany,"  "  Market  at  Antwerp,"  and 
"  Old  Clothes  "  ;  in  1876,  "The  Morning  Interview,"  "  Intemperance," 
and  "Sobriety";  in  1877,  "An  Inn"  and  "A  Portrait."  He  has 
also  exhibited  drawings  in  pen  and  ink,  which  are  excellent.  Among 
them  are,  "  Esmeralda,"  "  The  Fountain,"  "  The  Tithing,"  etc.  At 
the  Salon  of  1878  he  exhibited  a  portrait  of  M.  Coquelin  as  he  ap- 
pears in  "  l'Ami  Fritz." 

"  We  have  said  that  the  talent  of  Henri  Pille  is  eminently  spirituel.    That  is  not  all, 

his  compositions  are  true,  they  have  style  Style  is  a  manner  of  right  seeing  and 

true  doing,  and  Henri  Pille  possesses  this  manner ;  and  in  such  a  degree  that  he  has 
known  how  to  make  it  of  value  in  genre  painting,  where  the  savoir-faire  seems  sufficient 
to  the  great  number.  More,  his  painting  is  fundamentally  honest,  calm,  frank,  placid, 
like  himself ;  for  after  speaking  of  the  painter  it  is  necessary  to  speak  also  of  the  man. 

A  dreamer,  doubled  by  an  observer  ;  a  character  modest  and  simple  Let  us  say 

the  word,  he  is  a  peasant  in  appearance.  But  whoever  regards  him  with  the  attention 
which  he  merits  will  soon  see  that  his  small,  brilliant  eyes  reflect  a  sagacious  mind,  and 
that  his  lips  are  elegantly  retroussees  with  a  finely  railleuse  expression.  He  is  endowed 
with  a  prodigious  memory.  One  of  his  friends  tells  us  that  having  been  with  him  to  the 
theater,  he  saw  him  the  next  day,  while  making  his  reflections  on  the  intrigues  and  the 
whole  effect  of  the  play,  design  with  rigorous  exactness  the  costumes  of  the  actors  in  their 
least  details,  indicating  the  colors  and  the  shades."  —  Charles  Flor,  Galerie  Contem- 
poraine,  Litteraire  Artistique,  1877- 

Piloty,  Carl  Theodor  von.  (Ger.)  Born  at  Munich,  1826. 
Member  and  Professor  of  the  Academy  of  Munich.    Medal  at  Paris 


182     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  1867.  After  studying  under  his  father  he  entered  the  Academy  of 
Munich,  and  pursued  his  studies  under  the  direction  of  his  brother-in- 
law,  Charles  Schorn.  Piloty  visited  Paris,  England,  and  Brussels. 
Upon  his  return  to  Munich  he  was  commissioned  by  Maximilian  I.  to 
paint  for  the  Maximilianeum  a  large  historical  work,  "  The  Elector 
Maximilian  I.  adhering  to  the  Catholic  League  in  1609."  This  paint- 
ing was  completed  in  1854,  and  gained  Piloty  much  reputation,  to 
which  the  seal  was  set  in  the  following  year  by  his  picture  of  "  Seni 
before  the  Dead  Wallenstein."  Among  his  other  works  are,  "  The 
Battle  of  the  White  Mountain,  near  Prague,"  "  The  Murder  of  Wal- 
lenstein,"  "Galileo  in  Prison"  (1864),  "Wallenstein  marching  against 
Eger"  (seen  at  the  Paris  Exposition  of  1878),  mural  paintings  on  the 
exterior  of  the  Maximilianeum,  portrait  of  the  Baron  de  Schack,  a 
chef-d'oeuvre,  a  large  representation  of  the  "  Discovery  of  America," 
and  "  Henry  VIII.  and  Anne  Boleyn." 

As  an  instructor,  Piloty  has  been  very  successful,  and  large  numbers 
of  pupils  have  gathered  about  him.  He  is  a  prominent  representative 
of  the  modern,  realistic  German  school.  His  "  Nero  walking  among 
the  Ruins  of  Rome  "  is  marvelous  in  the  intensity  of  its  realism.  His 
"  Thusnelda  at  the  Triumph  of  Germanicus  "  was  purchased  by  the 
Emperor  of  Germany  for  35,000  florins,  and  placed  in  the  Pinakothek 
at  Munich.  Mr.  Probasco  of  Cincinnati  owns  his  "  Elizabeth  and 
Frederick  of  Bohemia  receiving  News  of  the  Loss  of  the  Battle  of 
Prague,"  painted  in  1868. 

"  In  even  the  best  paintings  of  Piloty,  who  is  pre-eminently  an  historical  painter,  there 
is  often  perceptible  a  certain  theatrical,  sensational  effect  in  the  composition  which  takes 
away  from  its  naturalness.  His  *  Columbus '  offends  very  strongly  in  this  respect ; 
'  Thusnelda  at  the  Triumph  of  Germanicus,'  his  most  ambitious  work,  is  perhaps  more 
satisfactory  ;  while  '  Seni  discovering  Wallenstein  Dead '  is  more  simple,  and  is  un- 
doubtedly a  work  of  great  power.  ....  Piloty  has  founded  a  school.  He  achieved  his 
fame  and  influence  early  ;  but  so  rapidly  has  German  art  ripened  of  late  years,  that  he 
has  lived  to  see  the  scepter  pass  from  his  hand.  Such  is  the  fate  of  all  reformers.  The 
genius  which  entitles  them  to  our  veneration,  and  increases  the  world's  stock  of  culture 
and  progress,  so  tends  to  educate  the  rising  generation  that  the  very  efforts  which  placed 
them  on  so  high  a  point  aid  to  carry  their  pupils  still  higher  and  beyond  them.  We  can- 
not, perhaps,  ascribe  to  Piloty  original  powers  equal  to  those  of  Kaulbach  or  of  some  of 
the  rising  school.  But  there  is  some  brilliant  work,  notwithstanding,  in  a  painting 
which  he  is  now  executing  for  the  new  Rathhaus,  or  City  Hall,  of  Munich,  for  which  he 
is  to  receive  50,000  florins  ;  a  large  sum  for  Germany.  It  is  an  allegorical  representation 
of  the  city,  and  contains  portraits  of  all  her  citizens  who  have  been  distinguished  in  her 
past  history.  It  seems  thus  far  to  contain  more  of  the  good  qualities  of  his  style  and 
less  of  the  faults  of  his  other  works."  —  Benjamin,  Contemporary  Art  in  Europe. 

"InPiloty's  much-admired  picture  of  'The  Death  of  Wallenstein,' the  truth  with 
which  the  carpet,  the  velvet,  and  all  other  accessories  are  painted,  is  certainly  remark- 
able ;  but  the  falsehood  of  giving  prominence  to  such  details  in  a  picture  representing 
the  death  of  Wallenstein,  as  if  they  were  the  objects  which  could  possibly  arrest  our  at- 
tention and  excite  our  sympathies  in  such  a  spectacle,  is  a  falsehood  of  the  realistic 
school.  If  a  man  means  to  paint  upholstery,  by  all  means  let  him  paint  it  so  as  to  de- 
light and  deceive  an  upholsterer  ;  but  if  he  means  to  paint  a  human  tragedy,  the  uphol- 
sterer must  be  subordinate,  and  velvet  must  not  draw  our  eyes  away  from  faces."  —  Mr 
Lewes,  Fortnightly  Review. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  183 


"  In  this  art,  whatever  be  its  worth,  Piloty  is  a  master,  —  what  a  baton  is  to  the  con- 
ductor of  an  orchestra,  what  a  bow  is  to  the  leader  of  violins,  such  is  the  brush  in  the 
hands  of  this  painter.  Manipulation  so  dexterous,  and  for  detail  so  minute,  does  not 
stop  with  the  delineation  of  form  ;  it  goes  on  even  to  the  illusive  imitation  of  surface. 
Texture  is  got  by  loaded  solid  paint,  transparency  by  thin  liquid  wash.  As  an  example 
of  the  former  method,  look  at  the  crumbling  and  calcined  ruins  of  Nero's  Golden  House. 
Gaze,  too,  when  next  in  Munich,  on  the  glitter  of  that  diamond  ring  which  dazzles  on 
the  hand  of  Wallenstein."  —  J.  Beavington  Atkinson,  Art  Journal,  October,  1865. 

Pils,  Isidore  Alexandre  Augustin.  (Fr.)  Born  at  Paris  (1813- 
1875).  Member  of  the  Institute.  Officer  of  the  Legion  of  Honor, 
and  Professor  in  l'J^cole  cles  Beaux- Arts.  Pupil  of  Picot,  and  a  grad- 
uate of  l'^lcole  des  Beaux- Arts.  In  1838  his  picture  of  "  St.  Peter 
healing  the  Cripple  at  the  Gate  of  the  Temple  "  won  for  him  the 
grand  prix  de  Rome.  After  his  studies  in  Rome  he  traveled  consider- 
ably, and  went  to  the  East  during  the  Crimean  war,  where  he  made 
studies  for  some  of  his  most  notable  pictures.  That  this  painter  suc- 
ceeded in  addressing  himself  to  popular  favor  in  France  cannot  be 
doubted,  when  we  remember  the  honors  bestowed  upon  him  ;  but  his 
works  are  open  to  severe  criticism,  and  this  has  not  been  wanting.  His 
principal  works  are,  "  Christ  preaching  in  Simon's  boat"  (1846); 
"  Death  of  Mary  Magdalene  "  (1847),  purchased  by  the  Minister  of  the 
Interior;  "Bacchantes  and  Satyrs"  (1848)  ;  "  Rouget  de  l'Isle  sing- 
ing the  Marseillaise  for  the  first  Time  "  (1849)  ;  "  Death  of  a  Sister 
of  Charity"  (1850)  ;  "The  Athenian  Slaves  at  Syracuse"  (1852)  ; 
"Prayer  at  the  Hospital"  (1853);  "A  Trench  before  Sebastopol" 
(1855)  ;  "  Disembarking  of  French  Troops  in  the  Crimea  "  (1858)  ;  "  De- 
file of  Zouaves  in  the  Trench  before  Sebastopol " ;  "  School  of  Musketry 
at  Yincennes  "  (1859)  ;  "  Battle  of  Alma  "  (1861),  purchased  for  the 
Minister  of  State,  —  a  chef-d'ceuvre,  the  work  which  in  the  future  will 
give  him  the  most  fame  ;  "  Fete  given  to  the  Emperor  and  Empress 
at  Algiers  in  1860  "  (1867)  ;  and  many  pictures  in  aquarelle  which  we 
have  not  space  to  enumerate.  The  four  paintings  in  the  vault  over 
the  great  staircase  in  the  New  Opera  House  are  by  Pils. 

"The  most  coarse  and  truly  vulgar  of  military  painters  is  Pils,  whose  glaring  daubs, 
of  gigantic  dimensions,  are  liberally  purchased  by  the  government,  whilst  their  author 
receives  the  honors  of  his  profession.  The  reader  may  remember  a  picture  by  him  in 
the  Exhibition  of  1867,  representing  a  reception  of  Algerian  chiefs  by  the  Emperor  and 
Empress  of  the  French.  I  have  never  seen  so  perfect  an  instance  of  this  particular  kind 
of  art-degradation.  Painters  have  often  before  condescended  to  natter  the  pride  of  pow- 
erful sovereigns,  but  the  adulation  has  been  accompanied  by  art.  In  this  instance  the 
picture  was  as  much  painting  in  the  true  sense  as  the  reports  of  the  same  scene  by  the 
government  penny-a-liners  were  literature  ;  the  fierce  glare  of  the  colors  corresponded  to 
the  ardors  of  the  bought  journalist.  In  another  picture  of  nearly  equal  dimensions  are 
a  company  of  colossal  riflemen  sprawled  on  their  bellies  in  the  foreground,  displaying  a 
row  of  gaiters  and  shoes,  with  odd  results  to  the  grace  of  the  composition."  —  Hamer- 
Ton's  Contemporary  French  Painters. 

"  M.  Pils  paints  soldiers  with  manly  simplicity,  without  bluster  and  artificial  swag- 
gering.   He  puts  a  soul  under  their  uniform,  and  gives  each  one  a  character  You 

can  examine  them  one  by  one,  they  all  interest  you  ;  they  live,  they  think,  and  they  act." 
—  Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 


184     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  By  a  singular  and  rare  privilege,  that  which  Pils  said  of  his  master  can  be  applied 
exactly  to  himself ;  and  we  know  not  how  to  better  close  this  notice  than  to  borrow  of  him 
the  lines  which  he  has  consecrated  to  M.  Picot :  '  He  had  neither  pride  nor  vanity  ;  he 
never  spoke  of  himself  or  of  his  works  ;  this  soul,  so  honestly  born,  so  sincerely  good  and 
instinctively  worthy,  had  no  need  of  any  sort  of  mask  in  order  to  make  itself  respected. 
He  spoke  not  willingly  of  art,  and  took  pity  on  the  declaimers  on  this  subject.  His  love 
for  art  was  so  profound  that  wqrds  seemed  to  him  powerless  to  express  it.  All  insuffi- 
cient expression  seemed  to  him  a  profanation.'  I  repeat  it,  Pils  is  a  French  artist  in  the 
most  rigorous  acceptation  of  the  term.  An  artist,  he  possessed  all  the  beautiful  quali- 
ties, —  the  genius,  the  warmth,  the  disinterestedness.  French  he  was  also,  by  his  emi- 
nent qualities  as  a  designer  ;  his  sketching  was  bold,  spirituel,  very  skillful  in  lightness, 
and  full  of  freedom  .....  He  never  made  merchandise  of  his  art,  or  speculated  on  his  tal- 
ent. He  demanded  of  his  natural  gifts  only  the  translations  of  the  conception  of  his 
thought,  or  the  dreams  of  his  imagination,  without  disturbing  himself  with  the  demands  of 
fashion  or  the  fondness  of  the  multitude.  He  was  never  preoccupied  with  making  a  fortune. 
After  having  been  one  of  the  masters  of  the  French  school,  after  enjoying  a  fame  which 
to  the  clever  or  the  complaisant  brings  infallibly  riches,  he  died  poor,  very  poor.  I  know 
no  better  eulogy  to  give  him.  A  French  painter,  his  talent  had  the  grand  national  quali- 
ties, —  simplicity,  neatness,  brilliancy.  His  legitimate  ancestors  are  Lebrun,  Jouvenet, 
Lemoine,  Natoire,  Gros,  Gerard,  Gericault.  He  had  the  power  to  take  his  inspirations 
or  demand  his  instructions  in  Germany  or  Flanders,  in  Spain  or  at  Genoa.  The  tradP 
tions  of  his  country  appeared  to  be  sufficient  for  him ;  he  remained  indissolubly  at- 
tached to  it,  —  a  merit  more  rare  than  one  thinks  in  these  times.  In  studying  attentively 
our  contemporaneous  art,  one  discovers  some  exotic  currents,  some  foreign  intrusions, 
some  influences  in  antipathy  to  the  national  temperament ;  and  this  state  of  things 
allows  us  only  to  reflect  sadly  enough  upon  whoever  has  it  at  heart  to  maintain  in  France 
the  preponderance  in  works  of  taste.  It  is  our  last  superiority  ;  let  us  not  compromise  it ; 
let  us  sustain  it  with  all  the  ardor  of  filial  piety.  From  this  side,  perhaps,  the  rising 
again  and  the  salvation  will  come.  Pils  would  have  raised  a  warning  finger  to  those 
who  follow  us;  he  can  take  his  rest."  — L.  Clement  de  Ris,  Gazette  des  Beaux-Arts, 
December,  1875. 

"  He  wished  to  consecrate  the  last  years  of  his  life  of  suffering  to  a  work  which  should 

class  him  among  the  painters  of  history  Pils  deceived  himself ;  he  was  not  born 

for  grand  mythological  painting.  He  was  well  able  to  make  his  zouaves  scale  the 
heights  of  Alma,  but  the  summits  of  Olympus  are  not  taken  by  assault.  His  figures 
were  too  heavy  to  sustain  themselves  on  the  golden  clouds  of  the  Homeric  heaven.  His 
qualities  of  life,  of  movement,  of  picturesqueness,  his  lively  feeling  for  the  modern  mili- 
tary type,  which  is  the  characteristic  of  his  talent,  only  hindered  him.  To  succeed  in 
this  new  genre,  it  was  necessary  to  become  another  painter,  — to  be  transformed.  That 
is  what  he  did  ;  the  metamorphosis  was  sad.  He  was  Isidore  Pils ;  he  was  a  painter  like 
so  many  others,  skillful,  ingenious,  experimental,  but  stripped  of  originality,  of  power, 
of  nobility.  Happily  for  this  valiant  artist,  the  paintings  at  the  Opera  will  soon  have 
been  forgotten,  also  the  Arab  Chiefs  and  the  Holy  Thursday  ;  he  will  be  remembered  as 
the  painter  of  Alma,  —  that  name  which  so  afflicted  Pils,  but  the  only  one  by  which  he 
will  be  known  to  posterity."  —  Henry  Houssaye,  Revue  des  Deux  Mondes,  February,  1876. 

Pilz,  Vincenz.  (Bohemian.)  Born  at  Warnsdorf,  1819.  Pupil  of 
the  Academy  of  Vienna.  In  1849  he  went  to  Rome,  and  remained 
until  1855.  Among  his  works  are  a  relief  of  "  The  Descent  from  the 
Cross,"  in  the  chapel  of  the  Princess  of  Lichtenstein ;  "Twelve  Apos- 
tles," for  a  castle  in  Grafenegg  ;  a  bronze  group  of  "  Wissenschaft  und 
Handel,"  sent  by  the  Emperor  of  Austria  to  Queen  Victoria,  now  at 
Windsor  Castle;  statue  of  Hannibal,  for  the  Arsenal  at  Vienna;  and 
numerous  portrait  busts  and  statues. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  185 


Pinwell,  George  John.  {Brit)  Born  in  London  (1842  - 1875). 
Educated  at  the  Heathly  School  of  Art.  Originally  devoted  his  time 
to  wood-engraving  for  book  illustrations,  manifesting  a  decided  talent 
in  that  branch  of  art.  He  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colors  in  1869,  contributing  frequently  to  the  ex- 
hibitions in  Dudley  Gallery  until  1871,  when  he  was  made  a  full 
member,  but  failing  health  prevented  his  active  work  after  that  time. 
In  1869  he  contributed  "  The  Pied  Piper  of  Hamelin  "  and  "  A  Seat 
in  St.  James'  Park  ";  in  1870,  "  The  Elixir  of  Love  ";  in  1871,  "Away 
from  Town";  in  1872,  "The  Saracen  Maiden"  and  "The  Strolling 
Player."  He  illustrated  Jean  Ingelow's  Poems,  Buchanan's  "  Ballads 
of  the  Affections,"  Dalziel's  "  Wayside  Posies,"  etc.  Many  of  his 
sketches  and  studies  were  exhibited  in  London  in  the  winter  of 
1876. 

"  Pinwell  painted  some  of  the  most  pathetic  of  modern  popular  pictures,  but  we  think 
he  did  too  much  to  do  all  things  well,  and  that  the  shortcomings  of  his  art  were  in  part 
due  to  lack  of  balance  in  his  technical  judgment,  as  well  as  to  his  need  of  severer  train- 
ing than  it  has  been  his  lot  to  receive."  —  London  Athenaeum,  September,  1875. 

"  In  all  he  [Pinwell]  has  shown  himself  a  man  of  earnest  thought,  and  an  artist  who 
would  win  the  applause  of  those  who  think,  rather  than  of  those  who  are  attracted  by- 
qualities  more  on  the  surface  than  underlying  the  subject."  —  London  Art  Journal, 
July,  1873. 

Place,  Henri.  (Fr.)  Born  at  Paris  about  1820.  Chevalier  of  the 
Legion  of  Honor.  A  painter  of  still-life  and  marines.  His  "  Marine- 
Cliffs  of  Dover  "  (1849)  is  in  the  Luxembourg. 

Plassan,  Antoine  Emile.  (Fr.)  Born  at  Bordeaux.  Chevalier 
of  the  Legion  of  Honor.  Medal  at  Philadelphia,  where  he  exhib- 
ited "Before  the  Mirror."  At  the  Wilson  Exposition,  Brussels, 
1 873,  "  The  Breakfast "  was  much  admired.  At  the  Walters  Gallery, 
Baltimore,  are  several  of  his  pictures  ;  among  them  the  "  Bourgeois 
Gentilhomme  "  is  a  spirited  and  characteristic  work,  and  "  A  Sleeping 
Girl "  is  very  charming.  At  the  Salon  of  1877  he  exhibited  "  Con- 
templation "  and  "A  Beading."    At  the  Johnston  sale,  New  York, 

1876,  "  The  Physician's  Visit  "  (4  by  3)  sold  for  $  450,  and  "  The  Old 
Bachelor"  (6  by  4)  for  $280.  At  the  Salon  of  1878  he  exhibited 
"  The  Family  of  Viscount  C. "  and  "  Le  jour  des  rameaux."  His 
"  Table  Supplies "  is  in  the  collection  of  Mr.  T.  R.  Butler  of  New 
York. 

Plassman,  Ernest.    (Ger.-Am.)    Born  in  Westphalia.    Died  in 

1877.  Plassman  removed  to  America  about  1850,  and  followed  the  oc- 
cupation of  a  modeler  of  statuary  for  many  years  in  New  York.  He 
was  the  founder  of  the  Society  of  Art,  a  flourishing  association  of 
German  artists  and  art-lovers  in  New  York.  Among  the  better 
known  of  Plassman's  works  are  the  statue  of  Franklin,  in  Printing- 
House  Square,  New  York  ;  the  Vanderbilt  statue,  in  the  Freight 
Depots  on  Hudson  Square  ;  and  the  statue  of  Gutenberg,  on  the 
building  of  the  New  York  "  Staats  Zeitung." 


186     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Plockhorst,  Bernhard.  (Ger.)  Born  at  Brunswick,  1825.  Medal 
at  Berlin.  Professor  at  Weimar,  1866-69.  Studied  at  Munich 
Academy  ;  was  associated  with  Piloty  ;  also  studied  under  Couture 
at  Paris.  He  painted  an  altar-piece  for  the  Cathedral  at  Marienw'er- 
der.  Most  of  his  historical  subjects  are  religious  ;  those  best  known 
are,  "  Mary,  with  St.  John,"  and  "  St.  Michael  and  Satan  struggling 
for  the  Body  of  Moses."  These  have  been  engraved.  His  portraits 
are  his  best  works.  At  the  National  Gallery  at  Berlin  are  those  of 
the  Emperor  and  Empress  of  Germany.  At  the  Leipsic  Museum  are 
two  of  his  religious  subjects. 

Pointelin,  Auguste-Emmanuel.  (Fr.)  Born  at  Arbois.  Pupil 
of  Maire.  Medal  of  the  third  class  in  1878,  when  he  exhibited  "  A 
Prairie  in  the  Cote-d'Or"  ;  in  1877,  "A  Valley  in  the  Jura";  in 
1876,  "  On  a  Plateau  of  the  Jura,  —  Autumn." 

Poittevin,  Eugene  le.  (Fr.)  Born  at  Paris  (1806- 1870).  Chev- 
alier of  the  Legion  of  Honor,  and  of  the  Belgian  Order  of  Leopold. 
Pupil  of  TJEcole  des  Beaux-Arts  and  Louis  Hersent.  He  traveled 
much  on  the  Continent  and  in  England.  His  subjects  were  varied. 
In  the  Luxembourg  is  a  "  View  near  £tretat  in  the  Bathing-Season  " 
(1870);  at  Versailles,  "  The  Capture  of  Baruth,"  "  Naval  Engagement 
at  Embro,"  "  The  Battle  of  Wertingen,"  and  other  maritime  subjects. 
Among  his  works  are,  "The  Turkey- Drover "  (1853),  "Winter  in 
Holland  "  (1855),  "  Dutch  Pilots"  (1859),  etc.  At  the  Johnston  sale, 
1876,  "  Lighthouse,  Coast  of  Holland  "  (48  by  35)  sold  for  $  1,300. 
At  the  Leipsic  Museum  is  his  "  Fishermen  saving  a  Wreck." 

"  Upon  even  his  most  ordinary  subjects  M.  le  Poittevin  bestowed  the  utmost  care. 
His  touch  is  decided,  his  general  manner  broad,  and  in  his  color  the  utmost  harmony 
pre  vails,  combined  with  a  brilliancy  seldom  seen  in  the  works  of  French  landscape  and 
marine  painters.  Thus  his  execution  may  be  traced  to  the  works  of  the  Dutch  and 
Flemish  artists,  while  his  compositions  show  more  point  and  anecdote  than  are  gener- 
ally found  in  the  latter.  For  his  well-earned  and  duly  merited  reputation,  he  was  evi- 
dently indebted  to  his  close  and  continual  observation  of  nature  ;  studying  not  only  in 
his  atelier,  but  yet  more  in  the  green  fields  and  by  the  open  sea,  where  humanity  was 
busied,  and  where  character  was  to  be  found  ;  for  figures,  as  a  rule,  play  even  a  more 
important  part  in  his  pictures  than  do  the  inanimate  objects  amid  which  they  are 
placed."  —  Art  Journal,  October,  1870. 

Pollastrini,  Enrico.  (Ital.)  Born  at  Leghorn  (1817-1876). 
Professor  in  the  Academy  of  Florence,  and  a  member  of  several  other 
Academies.  Pupil  of  Bezzuoli.  He  was  original  in  conception,  correct 
in  drawing,  and  a  good  colorist.  Among  his  best  works  are,  "  The 
Raising  of  the  Son  of  the  Widow  of  Nam,"  in  the  church  of  the  Soc- 
corso  at  Leghorn  ;  an  "  Episode  of  the  Inundation  of  the  Serchio," 
in  the  Gallery  of  Modern  Painting  at  Florence  ;  the  "  Death  of  Fer- 
ruccio  "  ;  the  "  Exiles  of  Siena  "  ;  "  San  Lorenzo  distributing  Alms  "  ; 
and  the  "  Battle  of  Legnano." 

Poole,  Paul  Falconer,  R.  A.  (Brit.)  Born  in  1818.  Studied 
art  without  a  master  and  in  none  of  the  established  schools,  exhibit- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  187 


ing  his  first  picture  at  the  Royal  Academy,  London,  in  1 830,  "  The 
Well,  — a  Scene  at  Naples."  In  1837  he  sent  to  the  Royal  Acad- 
emy, "  The  Farewell  "  ;  in  1838,  "  The  Emigrants'  Departure  "  ;  in 
1843,  "The  Great  Plague  of  London."  In  1846  (when  he  was 
elected  Associate)  he  exhibited  ■  •  The  Surrender  of  Sion  House  in 
the  Reign  of  Henry  VIII.  "  ;  in  1851,  "  The  Goths  in  Italy  "  ;  in  1852, 
"The  May  Queen"  ;  in  1860,  "  The  Escape  of  Glaucus  and  lone  from 
Pompeii"  ;  in  1864,  "Greek  Peasants";  in  1865,  "The  Eruption  of 
Vesuvius,  A.  D.  70";  in  1868,  "A  Border  Raid";  in  1869,  "The 
Prodigal  Son";  in  1872,  "Remorse"  (his  diploma  work)  ;  in  1873, 
"A  Lion  in  the  Path"  ;  in  1874,  "The  Grape- Gatherer "  ;  in  1875, 
"Ezekiel's  Vision"  ;  in  1876,  "  The  Meeting  of  Oberon  and  Titania"  ; 
in  1877,  "Leading  the  Blind,"  "The  Dragon's  Cavern,"  and  "Au- 
tumn "  ;  in  1878,  "Solitude  "  and  "  Harvest-Time."  He  was  elected 
Academician  in  1862.    [Died,  1879.] 

"Mr.  Poole's  drawing  we  fear  will  be  to  the  end  of  time  a  stumbling-stone,  not 
only  to  his  friends,  but  to  his  reputation  ;  but  his  scene  from  Pompeii  during  the  eruption 
[R.  A.,  1865]  is  filled  with  well-imagined  incidents,  and  renders  vividly  the  effect  of  that 
lurid  and  preternatural  light  which  would  arise  when  a  midday  Southern  sun  is  veiled 
by  clouds  of  ashes,  and  reddened  by  stealthy  interminglings  from  Vesuvian  fire."  — 
Palgrave's  Essays  on  Art. 

"  There  is  no  artist  of  our  time  who  has  acquired  greater  success  by  such  realistic  pic- 
tures as  this  ['  Rest  by  the  Way ']  than  Mr.  Poole.  He  has  produced  many  of  them,  but 
it  is  not  by  these  that  he  has  won  his  way  into  the  Royal  Academy.  The  painter  of 
*  Solomon  Eagle '  (*  The  London  Plague  '),  of  '  The  Moors  beleaguered  by  the  Spaniards  in 
Valencia,' '  The  Visitation  and  Surrender  of  Sion  House,'  and  many  other  pictures  of  a 
like  high  character,  takes  up,  it  may  be  presumed,  these  pretty  rural  scenes  by  way  of 
relief  from  the  more  important  labors  of  his  studio."  —  Art  Journal,  November,  1874. 

"  '  The  Lion  in  the  Path,'  by  P.  F.  Poole  [American  Centennial  Exhibition,  1876],  is  a 

landscape  of  great  strength  and  color  The  colors  in  it  are  so  strong  and  deep  that 

it  is  really  a  great  picture."  —  Art  Journal,  July,  1876. 

"  There  has  always  been  in  Mr.  Poole's  work  some  acknowledgment  of  a  supernatural 
influence  in  physical  phenomena,  which  gives  a  nobler  character  to  his  storm  painting 
than  can  belong  to  any  merely  literal  study  of  the  elements."  —  Ruskiij's  Notes  of  the 
Academy,  1875. 

Forcelli,  Antonio.  (Ital.)  (1800-1870.)  Distinguished  in  land- 
scape and  figure  painting.  He  imitated  Flemish  art  with  Italian 
ideality.  A  fine  work  of  his  is  "  The  Fountain  Dell  Acqua  Autosa, 
close  to  the  Flaminian  Way,  with  a  Concourse  of  People."  "  The 
Cobbler's  Monday  "  was  purchased  by  the  Emperor  of  Russia.  He 
painted  numerous  carnival  scenes  and  kindred  subjects,  as  well  as 
"  The  Pine  Forests  of  Ravenna  "  and  other  fine  landscapes.  His 
water-colors  and  drawings  are  much  prized. 

Portaels,  Jean  Franqois.  (Belgian.)  Born  at  Vilvorde,  1820. 
Chevalier  of  the  Order  of  Leopold.  Member  of  the  Antwerp  Academy. 
Director  of  the  Academy  of  Ghent,  and  later  Professor  in  that  of 
Brussels.  Medal  at  Paris,  1855.  Pupil  of  Navez  at  Brussels,  and  of 
Delaroche  at  Paris.  At  Antwerp,  in  1842,  he  gained  the  grand  prix  de 
Rome.    Portaels  has  traveled  in  Italy,  the  East,  Hungary,  Spain,  and 


188     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


other  European  countries.  Among  his  well-known  works  are,  "  The 
Flight  into  Egypt,"  "  The  Drought  in  Egypt  "  (in  the  Corcoran  Gallery 
at  Washington),  "  The  Funeral  in  the  Desert,"  "  A  Syrian  Caravan  sur- 
prised by  the  Simoom  "  and  "  Leah  and  Rachel."  The  pediment  of 
the  church  of  Saint-Jacques  at  Brussels  is  adorned  by  frescos  of  Por- 
taels,  representing  Christianity.  Another  fresco  by  him  is  in  the 
chapel  of  the  Brothers  of  the  Christian  Doctrine,  and  in  the  Tympa- 
num of  the  Royal  Theater  at  Brussels  is  another  of  a  dramatic  subject. 
His  portraits  are  famous,  among  them  those  of  Mehemet-Ali,  the 
Empress  of  Mexico,  the  Queen  of  Holland,  etc.  His  yleal  portraits, 
such  as  "  A  Young  Girl  of  Trieste,"  "  Glycine,"  "  An  Eastern  Girl," 
and  "A  Jewess  of  Asia  Minor,"  are  much  admired.  At  the  Cottrell 
sale  in  London,  in  1873,  "  The  Daughter  of  Zion  "  sold  for  710  guineas. 
At  the  Paris  Salon,  in  1877,  he  exhibited  "  Portrait,  of  M.  P.  D." 
His  picture  of  "  Judith "  is  a  pleasing  conception  of  this  well-worn 
subject. 

Porter,  Benjamin  Curtis,  N.  A.  (Am.)  Born  in  Melrose, 
Mass.,  1843.  As  an  artist  he  is  comparatively  self-educated.  He  has 
spent  the  better  part  of  his  professional  life  in  Boston,  where  of  late 
years  he  has  devoted  himself  almost  exclusively  to  portrait-painting, 
and  with  marked  success,  numbering  among  his  sitters  many  promi- 
nent people  of  Boston  and  vicinity.  He  went  abroad  in  1872,  and  again 
in  1875,  to  study,  spending  some  months  in  Venice  and  Paris.  In 
1878  he  was  elected  an  Associate  of  the  National  Academy  in  New 
York.  Among  his  ideal  figures  are,  "  The  Hour-Glass  "  and  "  The 
Mandolin  Player."    [N.  A.,  1880.] 

"Mr.  Porter  has  placed  himself  in  a  high  position  by  close  and  persistent  study  of  the 
fundamental  principles  of  his  art.    The  secret  of  his  color,  which  commands  so  much 

admiration,  is  the  tone  which  governs  its  value  But  it  is  not  color  alone  that 

gives  so  much  importance  to  this  artist's  productions,  nor  is  it  his  general  mastery  of 
technique  ;  there  is  in  his  works  a  depth  and  purity  of  sentiment,  an  undemonstrative 
thoughtfulness,  which  gives  them  a  peculiar  charm,  and  which  makes  of  them  some- 
thing much  higher  than  pieces  of  color.  We  see  in  both  his  portraits  and  ideal  works 
the  painter  of  refined  and  poetic  feeling,  one  who  can  conceive  a  subject  of  expressive 
beauty  and  so  develop  it  with  wealth  of  palette  and  richness  of  impasto,  that  it  shall 
gain  in  meaning  as  the  execution  progresses.  The  full-length  portrait  of  a  lady  which 
Mr.  Porter  has  sent  by  invitation  to  the  Paris  Exposition  [of  1878]  is  a  marked  example 
of  his  power  of  combining  magnificence  of  color  with  chaste  design  and  elevated  feeling. 
Mr.  Porter  is  of  no  school,  and  therefore  this  picture  will  take  its  place  in  the  exhibi- 
tion as  essentially  an  American  production. "  —  Darius  Cobb,  Boston  Evening  Traveller, 
May  9,  1878. 

Pott,  L.  J.  (Brit.)  Born  in  Nottinghamshire,  1837.  Displayed 
phenomenal  talents  as  an  artist  at  an  early  age,  and  drew  cleverly 
when  not  more  than  five  years  old.  He  was  articled  to  an  architect 
when  sixteen,  but  soon  left  that  branch  of  art  for  the  study  of  paint- 
ing in  London.  He  first  exhibited  at  the  Royal  Academy,  in  1860, 
"Studying  from  Nature"  and  "Effie  Deans"  ;  in  1861,  "Dark  and 
Fair"  ;  in  1863,  "Puss  in  Boots  "  ;  in  1864,  "  Rebecca  describes  the 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  189 


Fight  to  Ivanhoe"  ;  in  1865,  "Old  Memories"  ;  in  1867,  "The  De- 
fence"; in  1868,  "The  First  Success";  in  1869,  "Fire  at  a  Thea- 
ter"; in  1871,  "Mary  Queen  of  Scots  led  to  Execution";  in  1872, 
"  Charles  I.  leaving  Westminster  Hall  after  his  Trial "  ;  in  1873, 
"  On  the  March  from  Moscow"  ;  in  1874,  "  Paris  in  1793  "  ;  in  1875, 
"  Don  Quixote  at  the  Ball"  ;  in  1876,  "  His  Highness  in  Disgrace  "  ; 
in  1877,  "Waiting  for  the  King's  Favorite ";  in  1878,  "Fallen  among 
Thieves." 

"  When  this  picture  ['  Mary  Queen  of  Scots  led  to  Execution  ']  was  exhibited  at  the 
Royal  Academy  in  1871,  very  many,  if  not  all  of  those  who  had  made  close  acquaintance 
with  the  artist's  previous  works,  were  satisfied  that  in  it  he  had  accomplished  a  sur- 
prising advance.  Pott's  'Defence,'  and  his  *  Fire  at  a  Theater,'  showed  him  to  be  on 
the  right  road,  but  it  was  this  work  which  at  once  gave  him  something  more  than  an 
ordinary  reputation  as  a  painter  of  historical  subjects."  —Art  Journal,  May,  1875. 

Powell,  William  H.,  A.  N.  A.  (Am.)  Native  of  the  State  of 
Ohio.  He  is  an  Associate  Member  of  the  National  Academy,  and 
has  for  some  time  had  a  studio  in  the  city  of  New  York.  He  devotes 
himself  to  portrait  and  historical  painting.  He  is  the  artist  of  "  The 
Discovery  of  the  Mississippi  by  De  Soto  "  (in  the  rotunda  of  the  Capi- 
tol at  Washington)  and  of  "  The  Battle  of  Lake  Erie,"  painted  for 
the  State  of  Ohio.  His  "  Landing  of  the  Pilgrims "  belongs  to 
Marshall  0.  Koberts.  His  portraits  of  General  McClellan  and  of 
Major  Anderson  are  in  the  City  Hall,  New  York.  [Died,  1879,  aged 
55  years.] 

Powers,  Hiram.  (Am.)  Born  in  Vermont  (1805-1873).  When 
a  boy  Powers  was  taken  with  his  family  to  Cincinnati,  Ohio,  where 
he  learned  the  art  of  modeling,  and  acquired  some  local  reputation 
for  his  busts  and  medallions  of  such  men  as  Calhoun,  Webster,  Jack- 
son, and  Clay.  After  a  short  residence  in  Washington,  D.  C,  he  went 
to  Italy  in  1837,  settling  in  Florence,  where  the  rest  of  his  life  was 
spent.  In  1839  or  '40  he  completed  his  "Eve,"  and  the  "Fisher- 
Boy"  a  little  later.  "The  Greek  Slave"  (the  work  upon  which 
much  of  his  fame  now  rests)  was  finished  in  1843.  Of  this  figure 
some  six  or  eight  copies  came  from  Powers'  studio  :  the  first,  sold  to 
Captain  Grant  for  $  4,000,  was  taken  to  England,  and  is  now  in  the 
gallery  of  the  Duke  of  Cleveland  ;  the  second,  brought  to  America 
in  1847,  attracted  great  attention  when  exhibited  in  New  York,  and 
is  now  at  the  Corcoran  Gallery  in  Washington  ;  the  third  copy  be- 
longs to  Earl  Dudley  ;  the  fourth,  purchased  by  Prince  Demidoff  for 
$4,000,  was  sold  at  that  nobleman's  death  for  $  11,000  to  A.  T.  Stew- 
art of  New  York  ;  the  fifth  copy  is  in  the  possession  of  Hon.  E.  W. 
Stoughton.  Other  works  of  Powers  have  been  extensively  repeated. 
Among  his  ideal  subjects  are  his  "  Penseroso  "  (in  the  Lenox  Library, 
New  York  ;  never  copied),  "  America  "  (destroyed  by  fire  in  Brook- 
lyn), "Eve  Disconsolate"  (belonging  to  E.  D.  Morgan),  "Faith," 
"  Hope,"  "  Charity,"  "  Clytie,"  "  Proserpine,"  "  California,"  "  Christ," 
and  "  Paradise  Lost."  His  statues  of  Washington,  Webster,  Franklin, 


190     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Jefferson,  Calhoun,  and  others  are  in  different  American  cities.  The 
original  Webster,  lost  at  sea,  cost  $  12,000,  the  duplicate  $  7,000. 
Among  the  distinguished  persons  who  have  sat  to  Powers  for  their 
portrait  busts,  were  John  Q.  Adams,  Calhoun,  Jackson,  Van  Buren, 
Marshall,  Abbott  Lawrence,  Slidell,  Grand  Duchess  of  Tuscany, 
Nicholas  Longworth,  Winthrop,  Sparks,  George  Peabody,  Vanderbilt, 
Everett,  and  Dr.  Bellows.  The  Calhoun  statue  in  Charleston,  S.  C, 
was  taken  to  Columbia,  and  destroyed  in  that  city  by  fire  during  the 
Civil  War. 

Of  an  exquisitely  carved  hand,  that  of  an  infant  daughter  of  the 
sculptor,  Hawthorne  makes  Miriam  speak  very  pleasantly  in  the 
"  Marble  Faun."  Although  small  and  simple,  it  is  one  of  the  most 
artistic  and  touching  of  Powers'  creations.  It  has  been  occasionally 
reproduced.  One  fine  copy  is  in  the  possession  of  Mr.  John  Erskine 
of  Boston. 

"  Hiram  Powers  fitly  represents  the  mechanical  proclivities  of  the  nation.  His  female 
statues  are  simply  tolerably  well-modeled  figures,  borrowed  in  conception  from  the 

second-rate  antiques,  and  somewhat  arbitrarily  named  4  California,'   *  Eve,' 

4  America,'  '  The  Greek  Slave,'  are  the  same  woman,  and  each  might  be  called  some- 
thing else  with  equal  felicity  of  baptism.  The  4  California'  is  essentially  vulgar  in  pose 
and  commonplace  in  allegory." — Jarves,  Art  Idea. 

44  Powers  is  an  eclectic  in  the  study  of  nature,  and  has  triumphed  over  academic  dog- 
mas and  dictation.    Thorwaldsen  visited  his  studio,  and  pronounced  his  bust  of 

Webster  the  best  work  of  the  kind  executed  in  modern  times  The  genius  of 

Powers  is  singularly  healthful.  There  is  something  in  the  career  of  this  remarkable 
artist  which  strikes  us  as  eminently  American."  — Tuckerman's  Book  of  the  Artists. 

44  Hiram  Powers  cannot  be  ranked  among  the  great  sculptors  of  our  time.  His  '  Eve ' 
is  undoubtedly  his  masterpiece  among  ideal  figures,  although  his  4  Greek  Slave  '  has  at- 
tained larger  popularity,  simply  from  being  more  widely  known.  The  dignity  of  some  of 
his  allegorical  statues,  such  as  4  California,'  and  of  some  of  the  portrait  statues,  as  that 
of  Washington,  is  greatly  impaired  by  the  too  lavish  introduction  of  accessories  or  by 
peculiarities  of  costume.  The  statue  of  Franklin,  on  the  other  hand,  is  simple  and 
thoughtful.    Of  his  busts,  particularly  those  of  females,  nothing  can  be  said  but  what 

is  commendatory  If  he  made  no  real  advance  after  the  production  of  '  Eve  '  and 

4  The  Greek  Slave,'  he  maintained  to  the  last  the  reputation  acquired  by  these."  —  Art 
Journal,  July,  1873. 

4 'Appeal,  fair  stone, 
From  God's  pure  height  of  beauty  against  man's  wrong : 

Catch  up  in  thy  divine  face  not  alone 
East's  griefs,  but  West's,  and  strike  and  shame  the  strong, 
By  thunder  of  white  silence  overthrown." 

Mrs.  Browning's  Apostrophe  to  the  Greek  Slave. 

Powers,  Preston.  (Am.)  Born  in  Florence,  1843.  Second  son 
of  Hiram  Powers,  whose  only  pupil  he  was,  receiving  his  constant  in- 
struction for  six  years.  His  professional  life  has  been  spent  in  the 
United  States  and  in  Florence,  where  his  studio,  that  occupied  by  his 
father,  now  is.  Among  the  "better  known  of  the  works  of  Preston 
Powers  are  the  statue  of  Senator  Jacob  Collamer  of  Vermont  (origi- 
nally ordered  of  Hiram  Powers),  to  be  placed  in  the  Old  Hall  of 
Representatives  in  Washington,  D.  C;  a  bust  of  Charles  Sumner, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  191 


from  photographs  and  casts  taken  by  Mr.  Powers  after  the  statesman's 
death,  and  now  owned  in  Washington ;  a  bust  of  Agassiz,  from  a 
death-mask,  exhibited  in  Boston,  the  original  being  in  the  Cambridge 
Museum.  His  bust  of  J.  G.  Whittier,  from  life,  is  in  the  Public 
Library  at  Haverhill,  and  a  replica  is  to  be  placed  in  the  Public 
Library  of  Boston.  His  bust  of  Swedenborg  belongs  to  the  New 
Church  Society  of  Boston  ;  his  bust  of  Senator  Morrill  of  Vermont 
belongs  to  the  family  of  that  gentleman  ;  and  his  bust  of  General 
Grant  is  for  the  War  Department  in  Washington.  An  ideal  figure, 
"  Maud  Muller,"  still  unfinished,  is  in  his  studio  in  Florence. 

"  Mr.  Powers'  style  of  work  reproduces  that  of  his  father,  and  is  remarkable  for  deli- 
cacy and  finish  ;  while  his  devotion  to  his  profession  promises  an  equal  amount  of  work 

in  the  future  The  figure  of  Senator  Collamer  is  distinguished  by  a  quiet  dignity 

and  ease  which  is  apparent  to  the  casual  observer,  but  only  those  who  know  something 
of  the  work  can  appreciate  the  difficulties  that  have  been  overcome  in  dealing  with  our 
modern  costume."  —  Boston  Transcript. 

"  Mr.  Powers  is  also  engaged  on  an  ideal  figure  and  on  several  portrait  busts,  and 
has  already  crowded  his  studio  with  the  numerous  works  he  has  executed  in  the  ten 
years  of  his  artistic  life.  His  love  for  his  profession  is  extreme,  and  is  proved  by  his 
careful  and  delicate  modeling  of  details.  Nothing  escapes  his  eye  ;  every  line  is  turned 
to  account  if  useful,  and  the  result  is  the  same  vivid  and  life-like  look  which  is  so  no- 
ticeable in  his  father's  work  His  views  on  the  subject  of  art  are  essentially  the 

same  as  his  father's,  but  his  mind  works  in  its  own  way  to  turn  them  to  the  best  possi- 
ble account."  —  Boston  Advertiser,  October  8,  1877. 

Powers,  Longworth.  Son  of  Hiram  Powers.  Besides  in  Flor- 
ence. 

[No  response  to  circular.] 

Poynter,  Edward  J.f  R.  A.  (Brit.)  Born  in  Paris,  1836.  Son 
of  Ambrose  Poynter,  an  architect,  and  grandson  of  Thomas  Banks, 
R.  A.,  an  eminent  sculptor  of  the  last  century.  Poynter  was  taken 
to  England  in  his  infancy,  commencing  the  study  of  art  in  1854. 
Went  to  Paris  in  1856,  studied  under  Gleyre,  and  was  also  a  student 
of  PJ^cole  des  Beaux-Arts.  He  settled  in  London  in  1860.  In  1859 
he  exhibited  in  the  British  Institution,  "  Two  Italian  Pifferari "  ;  in 
1861,  at  the  Royal  Academy,  "  Alia  Veneziana "  ;  in  1864,  "  The 
Siren  "  ;  in  1865,  "  Faithful  unto  Death  v  •  in  1866,  "  Offerings  to 
Isis  "  ;  in  1869  (when  he  was  elected  an  Associate  of  the  Royal  Acad- 
emy) he  sent  "Proserpine  ";  in  1870,  "  Andromeda";  in  1871,  "  The 
Suppliant  to  Venus "  ;  in  1872,  "  Perseus  and  Andromeda "  ;  in 
1874,  "Rhodope";  in  1876,  "Cecil  Wedgwood"  and  "  Atalanta's 
Race"  ;  in  1877,  "The  Fortune-Teller"  (deposited  on  his  election 
as  an  Academician)  ;  in  1878,  "  Zenobia  Captive  "  and  a  portrait  of 
Mrs.  Langtry.  Poynter  was  the  first  "  Slade  "  Professor  of  Art  at  the 
University  College,  London,  and  for  some  time  a  Director  of  the  Art 
Schools  at  South  Kensington  Museum.  His  "  Ibis  Girl,"  "  The 
Golden  Age,"  and  "  The  Festival"  were  at  Philadelphia  in  1876. 
"  Israel  in  Egypt,"  "  Proserpine,"  and  "  The  Catapult  "  were  at  Paris 
in  1878.    He  is  also  a  contributor  to  the  Grosvenor  exhibitions. 


192     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Among  the  younger  painters  of  England  whose  work  departs  from  traditions  exclu- 
sively English,  and  is  such  as  to  take  its  place  in  the  general  stock  of  trained  European 

art,  Mr.  Poynter  is  one  of  the  most  noteworthy  Were  one  to  try  to  anai,T?;e  the 

characteristics  of  this  central  example  of  Mr.  Poynter's  talent  ['  Israel  in  Egyp-'],  one 
would  have  to  speak  first  of  a  clear  and  determined  practical  sense,  showing  itself  in 
the  carefully  rational  and  probable  arrangement  of  the  general  scene,  and  the  effective 
realization  and  solution  of  every  problem,  whether  of  archseology  or  mechanics,  which 
it  suggests."  —  Sidney  Colvin,  in  English  Painters  of  the  Present  Day,  1871. 

"  The  figure,  although  somewhat  statuesque,  is  striking  and  graceful,  and  the  birds  are 
most  picturesquely  grouped,  but  the  composition  as  a  whole  ['  Feeding  the  Sacred  Ibis 
in  the  Halls  of  Karnac  ']  loses  much  of  its  harmony  in  the  engraving  by  the  obtrusive- 
ness  of  the  background  of  Egyptian  architecture  with  its  redundancy  of  varied  and  promi- 
nent ornamentation."  —  Art  Journal,  January,  1874. 

"I  wonder  how  long  Mr.  Poynter  thinks  a  young  lady  could  stand  barefoot  on  a 
round-runged  ladder  ['  The  Festival '],  or  that  a  sensible  Greek  girl  would  take  her  sandals 
off  to  try,  on  an  occasion  when  she  had  festive  arrangements  to  make  with  care.  The 
ladders  themselves,  here  and  in  No.  236  ['  The  Golden  Age '],  appear  to  me  not  so  classi- 
cal or  so  rude  in  type  as  might  have  been  expected,  but  to  savor  somewhat  of  expedi- 
tious gas-lighting.  ....  Both  these  pictures  are  merely  studies  of  decorative  composition, 
and  have  far  too  much  pains  taken  with  them  for  that  purpose."  —  Ruskin's  Notes  of  the 
Academy,  1875. 

Pozzi,  Francesco.    (Ital)    Born  at  Portoferraio  (1790-1844). 

The  colossal  statue  of  Ferdinand  III.  at  Leghorn,  and  the  Farinata 
degli  Uberti  of  the  loggia  of  the  Uffizi  at  Florence  are  fine  works  by 
Pozzi.  His  "  Dancing-Girl,"  "  Bacchante,"  "  Mercury,"  and  "  Cipa- 
risso  "  have  been  frequently  repeated. 

Pradilla,  F.  (Span.)  Of  Madrid.  At  the  Paris  Exposition  of 
1878  this  painter  was  awarded  the  medal  of  honor  for  his  picture  of 
"  Dona  Juana  La  Loca."  She  was  the  daughter  of  Ferdinand  and 
Isabella  and  the  mother  of  Charles  V.  She  is  represented  upon  one 
of  the  occasions  when  the  funeral  cortege  of  her  husband  halts  for  the 
night.  It  will  be  remembered  that  she  followed  this  sad  procession  to 
the  place  of  burial.  The  atmosphere  in  this  picture  speaks  of  chill 
and  desolation,  and  the  whole  effect  is  that  of  strength  and  sincerity 
on  the  part  of  the  artist. 

Pratere,  Edmond  de.  (Belgian.)  Born  at  Courtrai.  Medal  at 
Philadelphia,  where  he  exhibited  "  Animals,  —  a  Halt."  At  Paris,  in 
1877,  were  "  Dog-Keepers  at  the  Rendezvous  of  the  Hunt "  and  "Dogs 
at  Bay." 

Pr^ault,  Antoine-Augustin.  (Fr.)  Born  at  Paris,  1809.  Pupil 
of  David  d' Angers.  Made  his  debut  at  the  Salon  of  1833,  but  was 
excluded  from  the  Salons  during  fifteen  years.  At  length,  in  1849, 
his  works  were  admitted  for  exhibition,  and  he  gained  reputation 
rapidly.  His  works  are  seen  in  churches  and  other  public  places. 
In  1877  he  exhibited  a  "  Funeral  Bas-Relief,"  belonging  to  Carolus 
Duran  ;  in  1876,  a  portrait,  medallion,  plaster,  and  "  Ophelia,"  bas- 
relief  in  bronze,  bought  by  the  Ministry  of  the  Beaux-Arts  ;  in  1875, 
"  Jacques-Coeur,"  statue,  marble,  bought  by  the  Ministry  of  the  Beaux- 
Arts,  and  two  medallion  portraits  in  bronze  ;  in  18743  funeral  me- 
dallions in  bronze ;  etc.    [Died,  1879.] 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  193 


Preller,  Friedrich  Johann  Christian  Ernst.  (Ger.)  Born  at 
Eisenach,  1804.  Professor  of  Drawing  in  the  School  of  Fine  Arts  at 
Weimar.  Court  painter.  Studied  under  various  masters  at  Weimar 
and  DrescTen,  and  at  the  Academy  of  Antwerp.  Goethe  was  the 
friend  of  Preller,  and  through  his  influence  the  Grand  Duke  Karl 
August  became  interested  in  the  young  artist,  and  took  him  on  a 
journey.  Preller  was  very  ill,  and  the  Grand  Duke  cared  for  him 
most  tenderly.  In  1825  the  artist  went  to  Milan,  where  he  studied  in 
the  Academy.  He  went  to  Rome  in  1828;  there  Joseph  Anton  Koch 
influenced  his  studies,  and  directed  his  attention  to  the  study  of 
drawing,  as  he  was  inclined  to  regard  only  the  grand  effects  of  nature, 
to  the  injury  of  the  whole  effect  of  his  composition.  In  1831  he 
went  to  Weimar,  and  was  employed  from  1835  to  '37  in  decorating 
the  Wieland  Hall  in  the  museum  of  that  city.  In  the  Castle  of 
Weimar  he  executed  six  historical  Thuringian  landscapes.  In  1840 
he  visited  Norway,  and  afterwards  painted  Northern  landscapes  and 
marine  views.  He  had  already  painted  in  Leipsic  his  series  of  Odys- 
sey pictures  which  seemed  to  be  his  one  entrancing  thought  ;  he 
repeated  them  three  times.  The  Grand  Duke  gave  him  a  commission 
to  repaint  them,  and  he  went  to  Italy  for  the  purpose  of  making 
studies  for  them.  This  occupied  two  years,  and  the  sixteen  cartoons 
are  in  the  Museum  at  Leipsic.  Two  of  his  works,  "  Calypso "  and 
"  Leucothea,"  are  at  Munich.  At  the  National  Gallery  of  Berlin  are 
his  "  Styrian  Landscape  "  and  a  "  Norwegian  Coast  Scene."  About 
1830,  at  Weimar,  he  became  interested  in  etching,  and  for  a  long  time 
was  very  active  in  an  etching-club  which  he  had  established.  His 
own  works  of  this  sort  are  much  prized  by  collectors.   [Died,  1878.] 

"  In  Preller's  representations  we  find  energy  and  conscientiousness  which  surpass, 
not  only  in  execution,  but  in  the  whole  spirit,  the  works  ordinarily  considered  as  up  to 
the  required  level.  The  peculiarity  of  historical  representation  —  that  peculiarity  of  it 
which  makes  the  figures  appear  as  if  molded  from  nature  —  he  has  forcibly  presented 
to  us  once  more.  Nothing  in  Nature  is  hidden  from  him,  —  her  beauty  is  naked  to  his 
observation.  The  remarkable  knowledge  of  forms  and  their  organic  connection  which 
he  has  gained  by  unceasing  study  and  an  industry  never  satisfied  by  itself,  shows  him 
outlines  through  any  and  every  covering.  In  his  landscapes  he  renders  justly  both  the 
vegetation  and  the  outlines  or  undulations  which  it  conceals,  and  takes  from  the  spirit 
of  neither  by  over  attention  to  details.  He  has  not  thus  mastered  Nature  by  prying 
and  digging  ;  she  has  been  revealed  to  him  spiritually,  and  has  become  his  through  a 
devotion  of  thought  and  an  inexorable  earnestness  of  contemplation.  This,  far  from 
making  him  a  slave  to  trivial  things,  makes  him  a  ruler  with  a  sort  of  loving  authority." 
Dr.  Max  Jordan,  Zeitschrift  fur  Uldende  Kunst,  1866. 

Preyer,  Johann  Wilhelm.  (Ger.)  Born  at  Rheydt,  1803. 
Studied  in  Dusseldorf  Academy.  Passed  some  years  at  Munich  and 
settled  at  Dusseldorf.  Traveled  extensively  in  Europe.  His  pic- 
tures are  of  flowers  and  fruit.  Several  are  in  the  Berlin  National 
Gallery.  At  the  Johnston  sale  in  New  York  in  1876,  "  Fruit"  (21  by 
20),  from  the  old  Dusseldorf  Gallery  in  New  York,  sold  for  $  1,400. 

VOL.  II.  9  M 


194     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


At  the  Leipsic  Museum  is  one  of  his  fruit-pieces.  Mr.  T.  R.  Butler 
of  New  York  has  his  "  Fruit  and  Wine." 

Frinceteau,  Rend  (Fr.)  Born  at  Libourne.  Pupil^of  l'Ecole 
des  Beaux- Arts.  Medal  at  Philadelphia,  where  he  exhibited  a  por- 
trait of  Washington  and  "  Horses  frightened  by  a  Railway-Train." 
At  Paris,  in  the  Salon  of  1875,  he  exhibited  the  preceding  picture  and 
"Halte  !"  and  a  group  in  plaster,  "The  Punishment  of  Brunehaut"; 
in  1872,  "A  Patrol  of  Uhlans  surprised  by  French  Sharp-Shooters"  ; 
in  1878,  a  picture  of  "  The  Return  from  the  Promenade  "  and  an 
equestrian  portrait  of  Count  T.  L. 

Prinsep,  VaL  C,  A.  R.  A.  {Brit)  Born  in  India,  1836.  He  was 
originally  intended  for  the  Indian  Civil  Service,  but,  resolved  to  devote 
himself  to  art,  he  went  to  England  to  study,  exhibiting  at  the  Royal 
Academy  in  1862,  "How  Bianca  Cape! lo  sought  to  poison  the  Car- 
dinal de;  Medici"  ;  in  1864,  "  My  Lady  Betty  "  ;  in  1865,  "  Belinda" 
(from  Pope's  "Rape  of  the  Lock")  ;  in  1867,  "  Miriam  watching  the 
Infant  Moses"  ;  in  1868,  "A  Venetian  Lover"  ;  in  1869,  "Bacchus 
and  Ariadne"  ;  in  1870,  "The  Death  of  Cleopatra";  in  1871,  "News 
from  Abroad  "  ;  in  1872,  "  The  Harvest  of  Spring  "  ;  in  1873,  "  Lady 
Teazle  ";  in  1874,  "  Newmarket  Heath,  —  the  Morning  of  the  Race  "; 
in  1875,  "A  Minuet";  in  1876,  "The  Linen-Gatherers";  in  1878, 
"A  Kashmiree  Nautch-Girl"  ;  and  many  more,  besides  an  occasional 
portrait.  His  "  Minuet "  and  "  Death  of  Cleopatra  "  were  at  the  Cen- 
tennial Exhibition  at  Philadelphia  in  1876  ;  "Reading  Grandison," 
"  Linen-Gatherers,"  and  "  A  Bientot,"  at  Paris,  in  1878. 

"  Mr.  Prinsep,  if  he  does  not  this  year  try  any  subject  of  powerful  interest,  has 
gained  in  mastery  over  his  art.  His  'Berenice,'  although  not  exactly  the  lady  of 
whom  Mr.  Browning  speaks  in  the  verse  quoted,  is  a  grand  piece  of  decorative  coloring, 
although  rather  coarse  in  design.  This  same  artist's  '  Lady  of  the  Last  Century,'  in  her 
full  court  dress  and  fan,  sweeping  gracefully  by,  shows  command  over  motion,  color, 
and  life. "  —  Palgrave's  Essays  on  Art. 

"'A  Bientot'  [R.  A.,  1876]  is  by  Val.  C.  Prinsep.  He  is  always  exceptionally  strong 
in  these  charming  little  pieces  of  drawing-room  incident,  and  this  picture  is  an  admira- 
ble illustration  of  the  care  and  skill  with  which  he  handles  such  subjects."  —  Art  Jour- 
nal, July,  1876. 

Friou,  Louis.  (Fr.)  Born  at  Toulouse.  Medals  in  Paris  in  1869 
and  '74,  and  at  Philadelphia,  1876.  Pupil  of  l'Ecole  Municipale  of 
Bordeaux,  and  of  Cabanel.  At  Philadelphia  he  exhibited  the  "  Edu- 
cation of  Young  Satyrs,"  and  at  Paris,  in  1877,  the  same  picture 
and  a  "Venetian  Duo"  ;  in  1876,  "Nymph  of  the  Wood"  and  "A 
Souvenir"  ;  and  in  1874,  "A  Family  of  Satyrs,"  now  at  the  Cor- 
coran Gallery  in  Washington.    The  catalogue  says  :  — 

"  The  prodigious  vigor  of  the  composition  and  its  fine  color  are  equal  to  the  artist's 
thorough  classical  conception  of  the  subject.  The  whole  scene  is  replete  with  the  spirit 
nf  the  wild,  joyous  sylvan  life,  associated  with  those  imaginary  wood  deities  of  the 
ancients." 

To  the  Salon  of  1878  he  contributed  "  The  First  Miseries  of  a  Young 
Satyr  w  and  a  portrait. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  195 


Probst,  Karl.  {Austrian)  Of  "Vienna.  Medal  at  Philadelphia, 
where  he  exhibited  a  "  Portrait  Study,  —  Female  Figure,"  of  which 
Weir  says  :  — 

"  A  portrait  study  by  Charles  Probst  has  exceptional  merit.  The  expression  and  atti- 
tude are  very  natural,  and  the  technical  treatment  skillful.  It  was  one  of  the  best  por- 
traits of  the  Exhibition. " 

Protais,  Paul  Alexandre.  (Fr.)  Born  at  Paris,  1826.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Desmoulins.  He  followed  the 
French  armies  in  the  Crimea  and  in  Italy,  and  devoted  himself  almost 
entirely  to  military  subjects.  He  received  his  first  medal  in  1863, 
and  his  decoration  in  1865.  Among  his  works  the  following  are  the 
most  important :  "  Battle  of  Inkermann,"  "  Death  of  Colonel  Brancion,'* 
"  Taking  of  a  Battery  of  the  Mamelukes  "  (1857),  "  Attack  and  Tak- 
ing of  the  Mamelukes,"  "  The  Last  Thought "  (1859),  "  Brigade  of 
General  Cler  on  the  Route  to  Magenta,"  "  Passage  of  the  Sezia,"  "  An 
Evening  March,"  "  A  Sentinel "  (1861),  "  The  Morning  before  the 
Attack  "  and  "  The  Evening  after  the  Combat "  (1863),  —  the  last  two 
are  his  most  admired  works,  and  were  in  the  Exposition  of  1867, — 
"  The  End  of  the  Halt,"  "  Passage  of  the  Mincio,"  "An  Interment  in 
the  Crimea,"  "The  Conquerors, —  Return  to  the  Camp  "  (1865), — the 
last  was  also  in  the  Exposition  of  1867,  and  was  purchased  by  Count 
W.  de  la  Valette,  —  "A  Wounded  Soldier,"  "A  Bivouac"  (1866), 
"  The  Grand  Halt,"  purchased  by  the  Princess  Mathilde  (1868),  "  En 
Marche  !  "  and  "  The  Night  of  Solferino  "  (1870),  "  The  Separation," 
"Army  of  Metz,"  October  29,  1870,  and  "Prisoners,"  near  Metz,  No- 
vember 1,  1870  (1872),  "The  Repose"  (1873),  "An  Alert,"  "Metz," 
(1874),  "  French  Guards  "  and  "  Swiss  Guards  "  (1875),  "  La  garde 
du  drapeau  "  (1876),  "  Passage  of  a  River  "  (1877). 

"  Protais  has  discovered  new  material  in  warfare,  leaving  to  others  the  purely  military 
spirit,  and  studying  soldiers,  for  the  first  time  in  the  history  of  art,  simply  as  human 

beings,  placed  in  circumstances  of  great  interest  The  picture  called  '  Morning 

before  the  Attack '  represents  a  small  body  of  Chasseurs  de  Vincennes,  marching  warily 
towards  the  enemy,  on  hilly  ground,  in  the  cold  light  of  early  morning.  There  is  no 
glare  of  color  ;  but  the  dark  uniforms  harmonize  pleasantly  with  the  gray  sky  and  dewy 
green  mountain  ground.  The  execution  is  modest  and  simple,  a  little  too  methodical 
perhaps,  but  without  dash  or  bravura  ;  and  the  spectator  is  made  to  understand  that  the 
artist  would  rather  he  felt  the  awfulness  of  the  moment  than  wandered  from  the  matter 
to  admire  pretty  tricks  of  execution  or  clever  bits  of  detail."  —  Hamerton,  Contemn 
porary  French  Painters. 

"  He  paints  soldiers  as  a  comrade  ;  we  see  that  he  knows  them,  understands  them, 
and  loves  them.  He  knows  war  to  the  bottom  in  all  familiar  aspects,  heroic  and  mel- 
ancholy. He  will  tell  you  how  the  men  lie  down  and  shield  themselves  during  a  halt, 
and  how  they  replace  themselves  en  route.  If  you  reproach  him  with  having  exhibited 
in  1864  the  same  troopers  as  in  1863  and  '62,  he  will  reply  to  you,  not  without  reason, 
that  the  troopers  change  little,  that  they  resemble  each  other  more  or  less  ;  that  the 
army,  like  the  convent  and  the  prison,  and  all  institutions  outside  of  nature,  is  a  mold, 
a  gauffer-iron,  in  which  man  models  and  forms  himself  anew  on  a  uniform  type.  From 
this  comes  that  uniformity  which  penetrates,  whatever  happens,  through  the  most 
varied  episodes. "  —  Edmond  About,  Salon  de  1864. 

It  was  said  that  the  Emperor  paid  £  5,000  for  two  pictures,  "  The 
Morning  and  Evening  of  the  Soldier,"  at  the  Salon  of  1863. 


196     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Frout,  Samuel.  (Brit.)  Born  at  Plymouth  (1785-  1852).  He 
evinced  a  decided  talent  for  water-color  painting  as  a  youth,  and,  going 
to  London  early  in  the  century,  he  found  a  ready  sale  for  his  works. 
About  1820  he  visited  the  Continent,  making  many  sketches  of  the 
scenery  of  the  Khine,  the  Alps,  etc.,  which  were  subsequently  en- 
graved. He  was  made  a  member  of  the  Society  of  Painters  in  Water- 
Colors  very  early  in  his  career,  and  contributed  regularly  to  its 
exhibitions  for  many  years.  He  turned  his  attention  particularly 
to  architectural  drawings,  and  his  works  were  very  popular,  and  by 
collectors  are  still  highly  prized.  Among  the  better  known  of  his 
pictures  are,  "  Chartres  Cathedral,"  "  City  of  Venice,"  and  the  draw- 
ings illustrating  "  Views  in  the  North  and  West  of  England,"  "  The 
Continental  Annual,"  "  The  Landscape  Annual,"  and  other  volumes 
of  a  similar  character. 

"  We  owe  to  Samuel  Prout,  I  believe,  the  first  perception,  and  certainly  the  only  ex- 
pression, of  precisely  the  characters  which  were  wanting  to  old  art,  of  that  feeling  which 
results  from  the  influence  among  the  noble  lines  of  architecture,  of  the  rent  and  the  rust, 
the  fissures,  the  lichen,  and  the  weed,  and  from  the  writings  upon  the  pages  of  ancient 

walls  of  the  confused  hieroglyphics  of  human  history  For  numerous  as  have  been 

his  imitators,  extended  as  his  influence,  and  simple  as  his  means  and  manner,  there  has 
as  yet  appeared  nothing  at  all  to  equal  him.  There  is  no  stone  drawing,  no  vitality  of 
architecture,  like  Prout's."  —  Ruskin's  Modern  Painters. 

Pugin,  Edward  W.  (Brit.)  Born  in  1834.  Pupil  of  his  father, 
a  well-known  English  architect,  whom  in  1852  he  succeeded.  He  has 
designed  and  completed  many  important  buildings,  principally  church 
edifices,  in  all  parts  of  Great  Britain  and  Ireland. 

Fuvis  de  Chavannes,  Pierre.  (Fr.)  Born  at  Lyons,  1824. 
Oiftcer  of  the  Legion  of  Honor.  Pupil  of  Henri  Scheffer  and  Cou- 
ture. He  has  devoted  himself  to  mural  and  decorative  painting.  His 
"  Peace  "  and  "  War"  were  immense  symbolical  works  ;  small  repro- 
ductions of  them  were  seen  at  the  great  Exposition  of  1867,  and  they 
were  much  noticed  and  discussed.  In  1865  he  executed  for  the  Mu- 
seum at  Amiens  "  Ave  Picardia  nutrix,"  a  monumental  work  with 
eight  figures,  for  Le  Cercle  de  1'Union  Artistique.  He  painted  a  deco- 
rative figure  called  "  Sport "  for  the  grand  staircase  of  the  Museum  of 
Marseilles,  "  Massilia,  a  Greek  Colony,"  and  "  Marseilles,  —  the  Gate  of 
the  Orient "  (1869).  At  the  Salon  of  1870  he  exhibited  "  The  Beheading 
of  St.  John  the  Baptist "  and  "  Mary  Magdalene  in  the  Desert  "  ;  in 
1872,  "Hope";  in  1873,  "Summer";  in  1874,  "The  Year  732,— 
Charles  Martel  saved  Christianity  by  his  Victory  over  the  Saracens 
near  Poitiers,"  and  a  design  for  "  The  Sixth  Century,  —  Radegonde, 
retired  to  the  Convent  of  Sainte-Croix,  gives  an  Asylum  to  Poets,  and 
protects  Letters  from  the  Barbarity  of  the  Age,"  —  both  of  these  sub- 
jects were  for  the  decoration  of  the  Hotel  de  Ville  at  Poitiers  ;  in 
1876,  one  painting  and  one  sketch  for  his  scenes  in  the  life  of  St. 
Genevieve,  which  he  was  commissioned  to  execute  in  the  Pantheon, 
now  the  church  of  Sainte-Genevieve,  by  the  Ministry  of  Public  In- 
struction and  Beaux- Arts.    He  has  gained  several  medals. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  197 


"  The  artist  so  long  disputed  is  henceforth  in  full  favor  in  public  opinion  ;  he  seems  to 
have  disarmed  criticism,  triumphed  over  the  most  rebellious,  and  rallied  the  most  frivo- 
lous among  the  worldlings  who  felt  themselves  much  affected  by  this  epic  simplicity  and 
this  profound  sincerity.  He  has  not  a  useless  gesture,  not  a  line  which  has  not  its 
value  ;  all  the  words  are  ideas,  and  the  poem  is  accessible  to  all.  M.  de  Chavannes  had 
his  public  restraint,  he  isolated  himself  in  his  intellectual  aristocracy,  and  people  remem- 
ber that  curious  inauguration  of  frescos  at  the  Museum  of  Amiens  presided  over  by 
Theophile  Gautier,  where  only  a  few  of  the  initiated  had  a  place.  To-day,  after  having 
so  long  suffered,  he  is  honored,  and  his  hour  is  decidedly  come."  —  Charles  Yriarte, 
Gazette  des  Beaux-Arts,  June,  1876. 

"  The  truth  is  that,  for  intensely  poetical  sentiment,  few  living  painters  may  be  com- 
pared to  Puvis  de  Chavannes.  His  art  is  a  poetical  abstraction  ;  the  region  that  he  paints 
is  not  the  world,  but  a  painter's  dreamland,  and  the  figures  that  dwell  in  it  are  not 
men  and  women,  but  the  phantoms  of  a  powerful  yet  tranquil  imagination.  To  enjoy 
works  of  this  kind  thoroughly,  we  must  surrender  ourselves  to  them,  and  live  an  hour 
in  this  world  of  strange  beings,  —  so  strong,  so  stately,  so  magnificent  in  irresistible  ac- 
tion, so  calm  in  their  everlasting  rest."  —  Hamerton's  Painting  in  France. 

Pye,  John.  (Brit.)  (1782-1874.)  Settled  in  London  in  1800, 
and  was  an  apprentice  of  Heath.  He  engraved  Turner's  "Pope's 
Villa,"  one  of  his  earliest  works,  in  1808,  and  later,  Turner's  "Temple 
of  Jupiter,"  and  the  paintings  of  Claude,  Michael  Angelo,  and  other 
prominent  British  and  Continental  artists,  ancient  and  modern. 

Fyne,  James  B.  (Brit.)  (1800  - 1870.)  Spent  the  early  part  of  his 
life  in  Bristol,  his  native  city,  painting  and  teaching  drawing.  He 
removed  to  London  in  1835,  exhibiting  for  the  first  time  at  the  Royal 
Academy  the  next  year.  His  works,  however,  have  not  been  seen 
at  the  Royal  Academy  since  1841.  He  was  elected  a  member  of  the 
Society  of  British  Artists  in  1839,  and  was  for  some  years  its  Vice-Presi- 
dent. In  1841  he  went  to  Italy,  where  he  painted  many  attractive 
Venetian  landscapes.  In  1848,  for  the  Agnews,  he  painted  a  series  of 
twenty-four  pictures  of  English  landscapes,  which  were  subsequently 
lithographed.    In  1851  he  visited  Italy  and  the  Rhine. 

"  Pyne  has  very  accurate  knowledge  of  limestone-rock,  and  expresses  it  clearly  and 
forcibly  ;  but  it  is  much  to  be  regretted  that  this  clever  artist  appears  to  be  losing  all 
sense  of  color,  and  is  getting  more  and  more  mannered  in  execution,  evidently  never 
studying  from  nature  except  with  the  previous  determination  to  Pynize  everything."  — 
Ruskin's  Modern  Painters. 

"  As  a  rule,  Pyne's  pictures  are  not  popular.    Like  Turner's,  they  are  not  generally 

intelligible  But  he  has  left  works  behind  him  which,  if  the  colors  are  found  to  be 

permanent,  will  be  valued  hereafter  as  among  the  best  of  our  modern  school  of  landscape- 
painting." —  Art  Journal,  September,  1870. 

Quarnstrom,  Carl  Gustav.  (Swede.)  Born  at  Stockholm  (1810  - 
1867).  Member  and  Director  of  the  Academy  of  Stockholm.  Pupil 
of  the  same  under  Hasselgren.  He  at  length  studied  sculpture  under 
Bystrom.  In  1836,  by  means  of  a  stipend  from  the  King,  he  went  to 
Rome.  Since  then  he  has  visited  Paris,  and  been  again  to  Italy. 
Among  his  works  are,  "  Martyrs  in  the  Amphitheater,"  "  Neapolitan 
Fishermen  "  (in  the  Museum  of  Stockholm),  busts  of  Wasa,  Frederika 
Bremer,  and  other  notable  people.  Some  of  his  motives  are  drawn 
from  Northern  mythology,  such  as  "  Hoder  von  Loke,"  etc. 


198     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Quartley,  Arthur,  A.N.  A.  {Fr.-Am.)  Born  in  Paris,  1839.  As  an 
artist,  he  is  self-taught,  having  studied  in  no  schools  and  under  no  mas- 
ters. His  professional  life  has  been  spent  in  Baltimore  and  New  York, 
opening  a  studio  in  the  latter  city  in  1875  or  '76.  He  first  exhibited  at 
the  Royal  National  Academy,  in  1875,  "  Calm  Days,  Isles  of  Shoals," 
and  "  Evening  at  Narragansett."  Among  the  more  important  of  his 
works  are,  "  Low  Tide  "  (N.  A.,  1876)  and  "  Making  the  Landing, 
White  Island,  Isles  of  Shoals,"  both  owned  by  John  B.  Thorns  of 
Baltimore  ;  "  Morning  Effect,  North  River"  (N.  A.,  1877),  the  prop- 
erty of  John  Taylor  Johnston  ;  "  An  Afternoon  in  August,  Coast  of 
Maine  "  (N.  A.,  1878),  belonging  to  Mr.  Colgate.  He  was  elected  a 
member  of  the  Artists'  Fund  Society  in  1876.  His  "  Morning  Effect 
in  New  York  Harbor  "  was  sent  to  the  Paris  Exposition  of  1878. 

"  'The  Close  of  a  Stormy  Day'  is  the  strongest  thing  Arthur  Quartley  has  yet  done, 
and  it  admits  him  without  demur  into  the  front  rank  of  our  marine-painters."  —  Art 
Journal,  May,  1877. 

"Among  the  most  progressive  landscape-painters  in  this  country  is  Arthur  Quartley, 
whose  '  Afternoon  in  August '  is,  so  far  as  we  know,  the  best  marine  he  has  yet 
painted.  ....  With  its  exquisitely  soft  and  beautiful  far  distances  and  skies  it  contains 
several  special  bits  of  decoration  that  are  absolutely  tinsel.  But  what  especially  interests 
one  in  him  is  the  rapidity  of  his  growth.  Even  now  he  is  almost,  if  not  quite,  at  the 
head  of  American  marine-painters  ;  and  the  creditable  appearance  which  he  is  making 
is  one  of  the  distinct  and  bright  features  of  the  Academy  Exhibition. "  —  New  York 
Evening  Post,  April  20,  1878. 

Raabe,  Joseph.  (Ger.)  Born  at  Deutsch  Wartenberg  (1780- 
1849).  Painter  to  the  Court  of  Hesse- Darmstadt.  Professor  at  the 
Academy  of  Bonn.  Member  of  the  Academie  des  Beaux- Arts  at  Dres- 
den. Painter  to  the  Court  of  Saxony  and  Professor  at  l'Ecole  des 
Beaux- Arts  at  Breslau.  He  had  a  varied  talent,  a  sure  hand,  and 
exquisite  taste.  He  made  a  large  number  of  fine  copies  in  Italy. 
His  "  St.  Peter  and  St.  Paul "  is  in  the  principal  church  of  Naum- 
bourg-sur-la-Queiss,  Silesia.  In  the  Dresden  Gallery  there  is  a  series 
of  sketches  and  paintings,  illustrating  "  L'antique  histoire  de  la  Ger- 
manie  et  de  l'Allemagne  au  moyen  age." 

Radclyffe,  Edward.  (Brit.)  (1810-1863.)  Son  of  William 
Radclyffe,  a  noted  English  engraver,  whose  pupil  and  assistant  he 
was  for  some  years  in  Birmingham,  his  native  town.  He  went  to 
London  about  1842,  where  he  became  associated  with  the  Art  Journal, 
and  other  illustrated  periodicals,  furnishing  many  fine  plates  after  the 
leading  artists  of  the  day.  "Kenilworth  Castle,"  "Peat-Gatherers," 
"  Outskirts  of  the  Forest,"  "  Changing  the  Pasture,"  and  others,  after 
David  Cox,  were  among  his  later  works. 

Radford,  Edward.  (Brit.)  Born  at  Plymouth,  1831.  At  the 
age  of  fifteen  he  was  articled  as  a  pupil  to  a  civil  engineer,  practicing 
as  an  architect  in  Canada  and  the  United  States  from  1854  to  '61. 
He  was  some  months  a  lieutenant  in  an  Ohio  battery  in  the  Amer- 
ican Civil  War,  and  was  engaged  upon  ordnance  until  1862.  In 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  199 


1863  he  commenced  painting  as  a  profession,  in  Cincinnati,  Ohio, 
returning  to  England  the  same  year,  and  becoming  a  subscriber  to  the 
Artists'  Society,  Langham  Chambers.  He  was  elected  an  Associate 
of  the  Society  of  Painters  in  Water-Colors  in  1875,  and  is  also  a  mem- 
ber of  the  Adelphi  Society  of  Arts.  Among  his  more  important 
works  are,  "The  Soldier  of  the  Cross,"  at  the  Royal  Academy  in 
1868  (owned  in  New  York)  ;  "  Flora,"  at  the  Dudley  Gallery  in  1873  \ 
and  "  Weary,"  at  the  Water-Color  Exhibition  of  1875  ;  "  The  Con- 
valescent "  (belonging  to  Mr.  Baring,  M.  P.) ;  "  Footprints "  and 
"  Caveas  Emptor,"  in  1876  ;  "  A  Little  Chilly  "  (belonging  to  Col- 
lingwood  Smith)  ;  "  The  Introduction  "  and  "  Godiva,"  in  1877  ;  "  In 
Consultation  "  and  "  The  Critics,"  in  1878. 

"Edward  Radford's  'Weary'  is  a  picture  painted  with  much  care  and  attention  to 
detail,  especially  in  the  imitation  of  the  textile  fabrics  ;  the  figure  of  the  woman  is  ex- 
cellently modeled,  and  the  pose  easy  and  natural."  —  Art  Journal,  March,  1877. 

Raffet,  Denis- Auguste-Marie.  (Fr.)  Born  at  Paris  (1804- 
1860).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Charlet,  l'Ecole 
des  Beaux- Arts,  and  of  Gros.  At  the  time  of  his  studies  it  was  quite 
the  custom  for  artists  to  publish  an  annual  album  of  lithographs. 
Raffet's  first  album  was  dated  1826,  and  his  success  was  more  than 
usual  for  a  young  man.  The  subjects  which  he  drew  from  military 
life  have,  with  good  reason,  remained  celebrated.  Raffet  early  re- 
solved to  be  a  painter  of  soldiers  and  the  incidents  of  their  lives.  He 
studied  hard,  and  neglected  no  means  to  fit  himself  for  his  chosen 
specialty.  It  is  said  that  at  one  time  he  obtained  the  head  of  a  young 
soldier  who  had  died  in  the  hospital,  shut  himself  up  with  his  ghastly 
treasure,  and  made  repeated  pictures  of  it  in  order  to  master  the 
strange  pallor  and  painful  mysteries  of  death.  He  still  wished  to  see 
war  itself,  and  in  1832,  at  the  siege  of  Antwerp,  he  made  many 
sketches.  At  the  Salon  of  1835  the  lithographs  of  these  scenes  were 
exhibited  ;  they  gave  promise  of  the  future  success  of  the  artist,  and 
attracted  much  attention  to  him.  Prince  Demidoff  became  his  friend, 
and  took  him  on  a  long  journey  in  Russia,  Moldavia,  Wallachia,  the 
Crimea,  Smyrna,  etc.  During  this  time  Raffet  had  always  the  pencil 
in  hand,  and  his  lithographs  illustrating  this  journey  are  most  val- 
uable, and  are  a  perfect  reflection,  as  in  a  mirror,  of  the  scenes  repre- 
sented. Raffet  was  often  asked  to  paint  an  historical  picture  for  the 
Gallery  at  Versailles  ;  this  he  intended  to  do,  but  his  lithographs 
were  so  much  sought,  and  his  series  of  plates  (especially  that  of  92, 
for  the  "  Journal  de  l'Expedition  des  Portes-de-Fer,"  for  the  Duke  of 
Orleans)  so  important,  that  the  painting  was  always  deferred.  Raffet 
visited  Belgium,  and  in  1849  he  went  to  Italy  to  study  the  motley 
soldiers.  The  troops  of  Garibaldi,  the  Swiss  Papal  Guards,  the 
Austrian,  the  Piedmontese,  the  French  armies,  and  the  picturesque 
costumes  of  the  Italian  women,  afforded  great  scope  to  the  painter. 
He  sketched  much  in  water-colors,  and  his  picture  of  "  The  Evening 


200     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  Battle  of  Novara,"  where  all  were  seeking  and  burying  their 
dead,  is  a  splendid  example  of  his  art.  After  the  siege  of  Rome 
Raffet  divided  his  time  between  Paris,  where  his  family  were,  and 
Florence,  or  San  Donato,  where  Prince  Demidoff  always  wished  for 
him.  In  1853  these  two  friends  went  to  Spain,  and  Raffet  had  not 
completed  at  the  time  of  his  death  the  album  of  his  Spanish  sketches, 
which  is  much  to  be  regretted,  but  at  the  same  time  he  had  in  train 
his  illustrations  of  the  siege  of  Rome,  and  was  so  suddenly  cut  off 
that  much  was  left  unfinished.  His  works  are  far  too  numerous  to 
be  mentioned,  but  his  sketches  show  the  true  heroism,  the  sad,  tender, 
and  brave  elements,  of  the  soldier's  life,  and  in  them  one  will  find 
harmonized  history  and  poetry. 

Rahl,  Charles.  (Ger.)  Born  at  Vienna  (1812-1865).  Pu- 
pil of  the  Academy  of  Vienna.  He  had  an  extensive  atelier  in 
Vienna,  and  received  many  pupils.  His  works  are  numerous,  and 
some  of  them  are  important.  They  are  seen  in  the  galleries  and 
churches  of  his  native  city.  He  executed  some  frescos  and  monumen- 
tal painting,  and  four  hundred  portraits.  His  picture  of  "  Christians 
surprised  in  the  Catacombs  "  is  in  the  National  Gallery,  Berlin. 

Rajon,  Paul-Adolphe.  (Fr.)  Born  at  Dijon.  Medals  in  1869,  70, 
and  '73.  Pupil  of  Gaucherel  and  Flameng.  The  etchings  of  this  artist 
are  fine.  Hamerton  says  that  he  "  never  issues  slovenly  or  careless 
work/'  He  is  a  painter  as  well  as  an  etcher,  and  has  consequently  a 
certain  understanding  which  is  of  service  to  him,  but  which  is  want- 
ing in  one  who  is  only  an  engraver.  His  engravings  are  very  numer- 
ous, and  are  principally  (in  late  years  entirely)  etchings. 

Ramsey,  Milne.  (Am.)  A  native  of  Philadelphia,  he  has  lived 
for  some  time  in  Paris,  studying  under  Bonnat,  and  contributing  to 
the  first  exhibition  of  the  Society  of  American  Artists  in  New  York, 
in  1878,  "  The  Bird-Fanciers."  To  the  Paris  Salon  he  sent,  in  1876, 
"  The  Home  of  a  Naturalist  "  ;  in  1878,  "  Cromwell  and  his  Daughter 
Elizabeth."  Several  of  his  genre  pictures  have  been  purchased  and 
photographed  by  Goupil  &  Co.  Among  them  are  "  A  Moral  Lesson  " 
and  "  Douce  Beatitude,"  which  have  been  highly  praised  for  fineness 
and  finish  of  detail. 

Rankley,  Alfred.  (Brit.)  (1820  -  1873.)  A  genre  painter  of  con- 
siderable reputation  in  England.  Among  his  works  are,  "  The  Vil- 
lage School,"  "  Old  Schoolfellows,"  "  The  Benediction,"  "  The  Fare- 
well Sermon,"  "After  Work,"  "The  Doctor's  Coming,"  "The  Hearth 
of  his  Home,"  "  The  Lonely  Hearth,"  "  Eugene  Aram,"  "  Dr.  Watts 
visiting  some  of  his  Little  Friends,"  "  George  Stephenson  at  Darling- 
ton," "  Milton's  First  Meeting  with  Mary  Powell."  He  last  exhibited 
at  the  Royal  Academy,  in  1871,  "  The  Benediction." 

"  Rankley's  pictures  are  carefully  painted.  The  story,  whatever  it  may  be,  is  attrac- 
tively set  out,  and  for  the  most  part  conveys  some  good  and  wholesome  moral,  and  with- 
out any  forced  or  vapid  sentiment.  They  were  hung  in  the  Academy  in  various  years ; 
all  were  directed  to  awaken  dormant  sympathy  in  favor  of  what  is  kindly  in  feeling  and 
of  good  report."  —  Art  Journal,  February,  1873. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  201 


Ranvier,  Victor  Joseph.  (Fr.)  Born  at  Lyons.  Medals  in  1865 
and  '73.  Pupil  of  Janmot  and  J.  Richard.  At  the  Salon  of  1876  he 
exhibited  "The  Morning";  in  1874,  "  The  Deliverance  of  Prome- 
theus "  ;  in  1873,  "  Echo"  and  "  The  Exiled  Virtues  "  (water-color). 
His  "  La  chasse  au  filet n  (1864)  and  "  The  Infancy  of  Bacchus  "  (1865) 
are  in  the  Luxembourg. 

Rapin,  Alexandre.  (Fr.)  Born  at  Noroy-le-Bourg.  Medals  in 
1875  and  '77.  Pupil  of  Gerome  and  Frangais.  Landscape-painter. 
At  the  Salon  of  1878  he  exhibited  "Le  Valbois  (Doubs)  in  No- 
vember." 

Raven,  J.  S.  (Brit.)  He  was  the  son  of  the  Rev.  J.  Raven  of 
Preston,  an  amateur  painter.  As  an  artist  J.  S.  Raven  was  compara- 
tively self-taught.  He  exhibited  at  the  Royal  Academy,  the  Dudley 
Gallery,  and  elsewhere.  He  was  drowned  while  bathing  at  Harlech 
in  1877.  Among  his  pictures  are,  "  Midsummer  Moonlight"  (R.  A., 
1866),  "  A  View  of  the  Tay  near  Dunkeld,"  "  Barff  and  Lord's  Seat 
from  the  slopes  of  Skiddaw,"  "  Summer  Haze,"  and  "  Part  of  the 
Land-Slip,  Chapel  Rock,  Lyme-Regis,"  etc.  After  his  death  a  collec- 
tion of  his  works  were  on  exhibition  in  the  Gallery  of  the  Burlington 
Fine  Art  Club,  in  London,  of  which  the  London  Times  said  :  — 

"The  loss  to  art  will  be  felt  with  the  more  regret  now  that  we  have  brought  before  us 
the  whole  work  of  his  life,  and  see  such  fine  poetic  endowments  and  strong  development 
of  long-cherished  aspirations,  with  such  vigorous  and  energetic  application  of  a  most 
observant  study  of  Nature. " 

Read,  Thomas  Buchanan.  (Am.)  Born  in  Chester  County, 
Pa.  (1822-1872).  In  1839  he  entered  the  studio  of  a  Cincinnati 
sculptor,  intending  to  learn  that  branch  of  art.  He  quickly  relin- 
quished it  for  painting,  however,  and  opened  a  studio  of  his  own  in 
New  York,  two  years  later.  In  1846  he  settled  in  Philadelphia,  and. 
in  1850  he  went  to  Europe,  working  and  studying  in  Florence  and 
Rome.  He  made  the  latter  city  his  home,  with  occasional  visits  to 
America,  upon  one  of  which,  in  1872,  he  died  in  New  York.  Among 
the  better  known  of  his  works  are,  "  The  Water-Sprite,"  "  The  Lost 
Pleiad,"  "The  Star  of  Bethlehem,"  "Sheridan  and  his  Horse."  He 
began  his  career  as  a  portrait-painter  with  some  success.  His  portrait 
of  George  Peabody  is  in  the  Peabody  Institute,  Baltimore.  Mr. 
Claghorn  of  Philadelphia,  an  early  friend  of  Mr.  Read's,  purchased  a 
number  of  his  pictures,  painted  at  different  periods,  illustrating  his 
progress  from  time  to  time.  His  was  a  very  versatile  genius.  He 
occasionally  turned  his  attention  to  sculpture  in  his  maturity,  and 
executed  a  bust  of  General  Sheridan,  which  proved  how  successful  he 
might  have  been  with  his  chisel,  had  he  so  elected  in  his  youth.  By 
his  poems,  perhaps,  he  will  be  best  known  in  the  future.  His  "  Sheri- 
dan's Ride "  is  one  of  the  most  popular  productions  of  the  minor 
poets  of  America.  His  first  book  of  "  Poems  "  was  published  in  1847  ; 
his  "Lays  and  Ballads"  in  1848,  "The  New  Pastoral"  in  1855, 
9* 


202     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  Home  by  the  Sea  "  in  1856.  A  collected  edition  of  his  works 
was  published  in  1860. 

Ream,  Vinnie  (Mrs.  Hoxie).  (Am.)  American  sculptress,  re- 
siding for  some  years  in  Washington,  D.  C.  She  went  to  Italy  in 
1869  or  '70,  executing  in  Home  her  statue  of  Lincoln  (for  the  United 
States  government),  now  in  the  Capitol  at  Washington.  Among  her 
works  are  busts  of  Lincoln,  Thaddeus  Stevens,  Reverdy  Johnson,  etc. ; 
and  medallions  of  Father  Hyacinthe,  Gustave  Dore,  and  Kaulbach.  She 
is  at  present  (1878)  at  work  upon  statues  of  General  Custer  and 
Admiral  Farragut.  Her  "  Spirit  of  the  Carnival,"  "  The  West," 
"  Miriam,"  a  bust  of  Senator  Morrell,  and  a  bust  of  a  child  were  at  the 
Philadelphia  Exhibition  in  1876. 

[No  response  to  circular.] 

Redgrave,  Richard,  E.  A.  (Brit)  Born  in  1804.  Brought  up 
to  commercial  pursuits.  Studied  from  the  Elgin  Marbles  in  the 
British  Museum  in  1823  or  '24.  Sent  his  first  picture  to  the  Royal 
Academy,  "  The  Brent,  near  Hartwell,"  in  1825.  In  1831  he  sent  his 
"  Commencement  of  the  Massacre  of  the  Innocents  "  ;  in  1833,  "  Cym- 
beline "  ;  in  1840  (when  he  was  elected  Associate  of  the  Royal 
Academy),  "  The  Reduced  Gentleman's  Daughter."  Among  his  early 
works  may  be  mentioned,  "  Quintin  Matsy's  First  Picture  "  (1839), 
"  The  Poor  Teacher  "  (1843),  "  The  Seamstress  "  (1844),  "  Fashion's 
Slaves  "  (1847),  "  The  Lost  Path,"  "  The  Old  English  Homestead," 
"  The  Flight  into  Egypt "  (1851),  and  other  well-known  pictures. 
He  was  elected  Academician  in  1850,  and  has  held  several  high  official 
positions  under  the  government  in  the  different  art  institutions  of 
the  country.  His  "  Olivia's  Return  to  her  Parents  "  and  "  Country 
Cousins"  are  in  the  National  Gallery,  London,  and  his  "  Gulliver  on 
the  Farmer's  Table  "  belongs  to  the  Sheepshanks  Collection.  He  ex- 
hibited at  the  Royal  Academy,  in  1861,  "The  Strayed  Flock"  ;  in 
1863,  "  The  Way  through  the  Woods  "  ;  in  1864,  "  Jane  Shore  doing 
Penance"  ;  in  1866,  "  The  Woodman's  Dinner"  ;  in  1868,  "Eugene 
Aram"  ;  in  1869,  "From  Autumn  to  Winter"  ;  in  1870,  "Jack-o' 
Lanthorn"  ;  in  1871,  "The  Charcoal-Burners"  ;  in  1872,  "Expecta- 
tion" ;  in  1873,  "  The  Lady  of  the  Manor"  ;  in  1874,  "  Sermons  in 
Stones"  ;  in  1875,  "  The  Mill  Pool  "  and  "  Starting  for  a  Holiday"  ; 
in  1876,  "Calling  the  Sheep  to  Fold"  and  "The  Oak  of  the  Mill- 
head  "  ;  in  1877,  "  Deserted,"  "  Help  at  Hand,"  and  "  A  Well-Spring 
in  the  Forest"  ;  in  1878,  "The  Heir  come  of  Age"  and  "Friday 
Street."  To  Paris,  in  1878,  he  sent  "  Deserted  "  and  "  Starting  for  a 
Holiday."    He  is  a  member  of  the  Society  of  British  Artists. 

"  '  Sunday  Morning '  is  one  of  those  avenues  which  Mr.  Redgrave  now  paints  with  so 
much  grace  and  truth.  When  we  remember  the  very  highly  finished  figure-pictures 
which  he  was  accustomed  to  exhibit  in  former  years,  it  is  at  least  remarkable  that  he 
should  have  forsaken  a  very  fascinating  manner  of  minute  execution  for  the  free  but  by 
no  means  ineffective  method  he  now  professes."  —  Art  Journal,  September,  1873. 

"  Mr.  Redgrave,  the  now  veteran  painter  and  writer  upon  art,  has  been  a  contributoi 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  203 


to  the  publications  of  the  Etching  Club.  The  temper  of  his  work  is  always  studious 
and  sincere  ;  and,  besides  these  qualities,  it  has  a  certain  tenderness  of  sentiment ;  but, 
from  the  technical  point  of  view,  it  has  been  injured  by  a  striving  after  finish,  which 
was  due  in  part  to  the  habit  of  working  on  a  small  scale."  —  Hamerton's  Etching  and 
Etchers. 

Reed,  Helen.  {Am.)  A  Boston  artist.  She  began  her  profes- 
sional career  in  that  city  "by  the  drawing  of  portraits  in  crayon. 
Later,  she  went  to  Florence,  where  she  studied  sculpture  under  Pres- 
ton Powers,  sending  to  America  bas-reliefs  in  marble,  which  have 
been  exhibited  at  the  Boston  Art  Club,  in  New  York,  and  elsewhere. 

Regnault,  Alexandre  -  Georges  -  Henri.  (Ft.)  Bom  at  Paris 
(1843  - 1871).  Prix  de  Rome,  I860.  Medal,  1869.  Son  of  the  acade- 
mician who  was  director  of  the  manufactory  at  Sevres.  Pupil  of 
Lamothe  and  Cabanel.  Regnault  contended  for  the  prix  de  Rome  in 
1863,  and  was  much  disappointed  at  not  winning  it.  In  1864  he 
sent  two  portraits  to  the  Salon,  which  were  coldly  received.  At  length 
in  1866  the  prize  was  his,  and  he  went  to  Italy.  Soon  after  he  re- 
turned to  Paris  for  the  Exposition.  After  he  was  again  in  Rome  he 
made  twenty-seven  designs  for  the  illustration  of  "  Wey's  Rome."  These 
designs  are  excellent.  In  1867  he  sent  to  the  Salon  a  decorative  panel ; 
in  1868,  one  painted  portrait  and  the  sketches  of  two  other  portraits. 
In  the  autumn  of  1868,  not  being  well,  this  artist  went  to  Spain,  and 
saw  General  Prim,  from  which  resulted  the  portrait  of  the  Salon  of 
1 869,  which  is  now  so  well  known ;  it  is  in  the  Luxembourg.  From 
Spain  Regnault  went  to  Tangiers,  and  even  in  the  short  time  he  was 
able  to  spend  there,  fell  so  in  love  with  the  life  of  that  country  that  he 
determined  to  return  when  at  liberty  to  do  so.  In  1869  he  painted  his 
"  Judith,"  and  in  1870  sent  to  the  Salon  the  "  Salome,"  which  is  a 
remarkable  work.  In  the  summer  of  1870  he  went  again  to  Tangiers, 
and  painted  "  The  Execution  without  Judgment  under  the  Moorish 
Kings  of  Granada,"  now  in  the  Luxembourg.  Hearing  of  the  war, 
Regnault  returned  to  Paris  to  bear  his  part  in  the  defence  of  his  coun- 
try. On  the  19th  of  January,  1871,  he  left  Paris  with  a  spirited 
party  who  made  a  sortie  attempting  to  join  the  expected  army  of  suc- 
cor. He  was  killed  towards  evening  on  the  field  of  Buzenval.  No 
friend  saw  him  die,  but  the  next  day  an  ambulance-driver  found  his 
body  and  read  his  name  on  the  lining  of  his  capote.  In  the  confusion 
the  traces  of  him  were  again  lost,  and  it  was  not  until  the  25th  that 
his  friends  recovered  his  remains.  His  funeral  took  place  at  the  church 
of  Saint- Augustin,  just  at  the  sad  moment  when  the  capitulation  of 
Paris  was  made  known.  Paul  Mantz  closes  his  account  of  Regnault 
thus  :  — 

"  It  will  soon  be  a  year  since  these  fatal  things  occurred  ;  but  the  remembrance  of 
Regnault  remains  as  fresh  as  on  the  day  of  his  death,  and  yesterday,  when  at  the 
exhibition  of  the  works  of  the  pensioners  at  Rome,  we  saw  in  the  place  where  his  con- 
tribution for  the  fourth  year  should  have  been,  an  easel  draped  in  black  and  decorated 
with  green  boughs,  each  one  felt  an  oppression  at  the  heart  at  this  spectacle,  which  told 
too  well  of  human  injustice,  and  of  the  cruelty  of  the  times.   Regnault,  crowned  already 


204     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


with  a  precocious  glory,  was  scarcely  at  the  first  chapter  of  his  book  ;  his  art  was  young, 
like  his  soul ;  he  knew  little  of  painful  experiences,  and  in  the  constant  holiday  of  his 
life  could  not  yet  understand  them.  He  would  without  doubt  have  advanced  in  the 
sentiment  of  manner,  as  in  that  of  the  drama.  But  the  dream  is  ended  :  the  present  and 
the  future,  both  have  perished  together.  There  remains  to  us  only  his  work,  which  is 
but  a  radiant  beginning,  and  the  example  of  his  death,  which  plainly  shows  that  the 
culture  of  art  extinguishes  not  the  religion  of  patriotism  in  the  soul.  Let  us  guard  faith- 
fully the  memory  of  the  artist  and  the  citizen,  and  on  this  tomb,  where  so  many  hopes 
are  buried,  let  us  read,  with  our  regrets  for  the  departed  master,  our  hatred  for  those 
who  killed  him."  —  Gazette  des  Beaux-Arts,  January,  1872. 

In  the  Luxembourg,  besides  the  works  already  named,  there  are 
four  water-colors  of  Spanish  subjects  (executed  in  1868  and  '69),  and 
fifteen  sketches,  presented  to  the  gallery  by  V.  Kegnault,  member  of 
the  Institute.  At  a  Paris  sale  of  1872,  "  A  Morocco  Soldier  at  the 
Gate  of  a  Pasha,  Tangiers  "  sold  for  £  960. 

"  Henri  Regnault,  who  was  killed  at  the  battle  of  Buzenval  in  1871,  when  but  twenty- 
eight  years  of  age,  was  the  most  remarkable  painter  of  the  contemporary  school  in  point 
of  promise,  and  had  he  lived  until  maturity  would  have  attained  a  pre-eminent  position. 
The  works  he  left  behind  him  remind  one,  in  fire  and  force,  of  Gericault's  paintings  or 
Schiller's  Robbers  Winning  the  prix  de  Rome  at  twenty-three,  he  sent  home  dur- 
ing his  absence  such  works  as  '  Judith  and  Holofernes,'  '  Salome,'  the  famous  '  Portrait 
of  General  Prim,'  and  an  '  Execution  under  the  Moors  at  Granada,'  the  last  two  painted 
during  a  trip  to  Madrid  and  Tangiers.  In  the  portrait  of  Prim  the  horse  is  of  the  Anda- 
lusian  type  ;  the  motif  of  the  composition  represents  the  arrival  of  General  Prim  before 
Madrid,  with  the  revolutionary  forces,  October  8,  1868.  The  execution  scene  aroused  a 
profound  sensation  on  the  part  of  both  critics  and  public,  as  well  it  might,  for  the  start- 
ling character  of  the  subject  and  the  tremendous  power  of  the  treatment,  greatly  assisted 
by  that  simplicity  which  indicates  large  reserve  strength  in  the  artist  and  wonderfully 
stimulates  the  imagination  of  the  observer.  It  is  marvelous  that  artists  so  rarely  avail 
themselves  of  this  master  weapon  of  simplicity.  A  marble  stairway  with  two  or  three 
steps  leads  to  a  Moorish  court  in  the  style  of  the  Alhambra,  which  is  suffused  with  a 
glowing  light  suggesting  the  burning  heat  of  a  Southern  sun.  In  the  immediate  fore- 
ground are  the  two  figures  composing  the  awful  drama,  —  the  executioner  and  his  vic- 
tim. The  former,  erect,  massive,  inflexible,  impassive  as  a  statue,  draws  his  cimeter 
across  his  tunic  to  wipe  off  the  blood  ;  while  the  mangled  trunk  of  what  was  once  a  man 
has  fallen  heavily  down  the  steps,  and  the  head  lies  in  a  pool  of  blood.  It  is  not  too 
much  to  say  that  this  blood  mantling  on  the  marble  slab  is  one  of  the  finest  bits  of  color 
in  modern  art.  ....  This  painting  is  hung  in  the  Luxembourg,  and  persons  have  been 
so  overcome  by  its  horrible  realism  as  to  be  seized  with  faintness  when  gazing  upon  it. 
There  seems  to  be  an  impropriety  in  admitting  such  a  work  to  a  public  national  gallery. 
.  .  .  ,  Either  it  is  bad  as  a  work  of  art,  and  should  therefore  be  excluded,  or  it  is  good 
as  a  work  of  art,  and  should  therefore  be  forbidden,  on  exactly  the  same  grounds  that 
the  public  are  guarded  from  the  demoralizing  influence  of  a  public  execution.  This, 
however,  would  not  prevent  its  more  private  exhibition,  purely  as  a  work  of  art,  to  those 
who  would  study  it  only  from  such  a  point  of  view."  —  Benjamin's  Contemporary  Art 
in  Europe. 

Reid,  George.  (Brit.)  Born  at  Aberdeen.  A  portrait-painter, 
executing  occasional  landscapes,  generally  in  the  manner  of  the  Dutch 
school,  of  which  he  is  a  disciple.  He  was  a  pupil  of  Mollinger.  He 
has  spent  the  greater  part  of  bis  professional  life  in  his  native  city, 
where  bis  studio  now  is.  He  was  elected  a  full  member  of  the  Eoyal 
Scottish  Academy  in  1878.  Among  his  works  are,  "  The  Washing- 
Day,"  "  Whins  in  Bloom,"  etc.    To  the  Eoyal  Scottish  Academy  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  205 


1878  he  contributed  "  Dornoch,"  "  A  Highland  Kitchen,"  and  several 
portraits. 

"  A  more  unpretending  theme  could  scarcely  have  been  selected  than  a  stretch  of  com- 
mon with  masses  of  blooming  furze,  a  bare  pathway,  down  which  sheep  are  wending, 
and  a  cool,  gray  sky  overhead.  Yet  out  of  these  Mr.  Reid  has  constructed  a  charming 
landscape  ['  Whins  in  Bloom '].  —  Art  Journal,  April,  1874. 

Reid,  Archibald  D.  (Brit.)  Native  of  Aberdeen,  where  he  still 
resides.  He  is  a  brother  of  George  Reid,  R.  S.  A.,  and  devotes  himself 
to  landscape-painting.  "  A  Harvest  Scene,"  by  A.  D.  Reid,  was  at 
the  Glasgow  Fine  Arts  Loan  Exhibition  of  1878  ;  the  same  year  he 
sent  to  the  Royal  Scottish  Academy,  "  Boys  and  Buoys,"  "  An  East 
Coast  Fishing  Village,"  "  Guessing  the  Catch,"  and  "  On  the  Find- 
horn,  —  Autumn." 

Reinhart,  Benjamin  Franklin,  A.  N.  A.  (Am.)  Born  near 
Waynesburg,  Pa.,  1829.  He  displayed  a  talent  for  art  as  a  child,  and 
notwithstanding  many  obstacles,  decided  to  follow  it  as  a  profession. 
At  the  age  of  fifteen  he  found  himself  at  Pittsburg,  Pa.,  receiving 
there  a  few  lessons  in  the  mixing  and  application  of  oil-colors,  be- 
ginning his  career  untutored  and  alone  by  the  painting  of  portraits. 
Later,  he  went  to  New  York,  where  he  spent  three  years,  studying  in 
the  schools  of  the  National  Academy.  In  1849  he  visited  Ohio  and 
several  cities  of  the  West,  painting  many  notable  men  of  that  section. 
In  the  course  of  a  year  or  two  he  was  enabled  to  go  to  Europe,  settling 
first  in  Diisseldorf,  and  later  in  Paris.  He  availed  himself  of  the  best 
schools,  studying  grand  composition  and  design  with  a  view  to  becom- 
ing an  historical  painter.  At  the  end  of  three  years  he  returned  to 
America,  following  his  profession  in  New  York,  Ohio,  and  New  Or- 
leans. At  the  outbreak  of  the  American  Civil  War  he  went  to  Eng- 
land, and  lived  seven  years  in  London,  where  he  met  with  decided 
success  as  a  painter  of  English  genre  subjects.  In  1868  he  came  again 
to  New  York,  where  he  has  since  resided,  devoting  himself  to  cabinet- 
sized  pictures,  genre  and  historical.  .  He  is  an  Associate  of  the  National 
Academy.  About  forty-five  of  his  pictures  have  been  engraved. 
Among  his  more  important  works  are,  "  Cleopatra  "  (the  studies  for 
which  were  made  in  Egypt,  and  which  is  now  in  England,  where  it  was 
painted),  "  Evangeline,"  "  The  Nymphs  of  the  Wood,"  "  Katrina  Van 
Tassel,"  "  Pocahontas,"  "  Washington  receiving  the  News  of  Arnold's 
Treason,"  "  Consolation,"  "  The  Entombment,"  "  Young  Franklin  and 
Sir  William  Keith,"  "  The  Regatta,"  and  "  The  Pride  of  the  Village," 
all  painted  since  his  last  return  to  New  York.  Among  his  portraits 
are  those  of  the  Princess  of  Wales,  the  Duchess  of  Newcastle,  the 
Countess  of  Portsmouth,  Lady  Vane  Tempest,  Lord  Brougham,  John 
Phillip,  R.  A.,  Thomas  Carlyle,  Tennyson,  Mark  Lemon,  Chief  Justice 
Daly,  Charles  O'Conor,  Dr.  Marcy,  George  M.  Dallas,  James  Bu- 
chanan, E.  M.  Stanton,  Winfield  Scott,  S.  P.  Chase,  Bishops  McEl- 
vaine  and  Polk,  Elliott,  J.  C.  Breckinridge,  Stephen  A.  Douglas, 
Samuel  Houston,  and  many  more. 


206     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Reinhart,  Charles  S.  (Am.)  Born  at  Pittsburg,  Pa.,  1844.  Was 
engaged  upon  the  United  States  military  railroads  in  Virginia,  during 
the  Civil  War,  for  a  period  of  three  years,  and,  later,  spent  four  years 
in  a  steel  manufactory  at  Pittsburg.  In  1868  he  began  the  study  of 
art  in  Paris,  going  subsequently  to  Munich,  where  he  entered  the 
Eoyal  Academy,  and  studied  drawing  under  Professor  Streyhuber, 
and  etching  and  painting  under  Professor  Otto.  The  greater  part  of 
his  professional  life  has  been  spent  in  New  York.  For  six  and  a  half 
years  he  was  in  the  employ  of  Harper  and  Brothers,  opening  a  studio 
of  his  own  in  the  summer  of  1876.  He  is  a  member  of  the  American 
Art  Club  in  Munich,  the  Pittsburg  Art  Association,  New  York 
Etching  Club,  and  was  elected  a  member  of  the  Water-Color  Society 
in  1876.  He  has  contributed  illustrations  to  various  publications  of 
the  Scribners',  Harpers',  Appletons',  and  of  Osgood's,  and  exhibits  fre- 
quently at  the  National  Academy,  oil  and  water-color  paintings,  as  well 
as  sketches  in  pen  and  ink.  "  Caught  Napping  "  and  "  Clearing  Up  " 
in  1875,  "Reconnoitering"  in  1876,  "The  Rebuke"  in  1877,  are 
among  his  oil-pictures.  To  the  Water-Color  Exhibitions  he  sent,  in 
1877,  the  "Close  of  Day  "  and  "  Gathering  Wood  ";  in  1878,  "At  the 
Ferry."  His  "  No  Trespassing  "  belongs  to  Fletcher  Harper,  Jr.,  and 
his  "  Noon  and  Midnight "  (both  in  black  and  white),  to  J.  Abner 
Harper. 

"C.  S.  Reinhart's  'Gathering  Wood'  is  composed  in  his  happiest  mood,  the  least 
ambitious  but  best  water-color  he  has  to  show,  being  remarkable,  not  only  in  figures, 
where  his  strength  lies,  but  in  color  as  well."  —  New  York  Times,  January  22,  1877. 

Reinherz,  Conrad.  (Prussian.)  Born  at  Breslau.  Pupil  of  the 
Academy  of  Munich  and  of  Dietz.  His  pictures  are  landscapes,  and 
have  been  exhibited  in  the  prominent  German  exhibitions  for  some 
years.    He  ranks  high  among  the  artists  of  his  country. 

Rethel,  Alfred.  (Ger.)  Born  at  Aix-la-Chapelle  (1816  - 1859). 
When  thirteen  years  old  this  artist  executed  a  design,  which  gained 
him  admission  to  the  Academy  of  Dusseldorf.  At  twenty  he  took 
up  his  residence  in  Frankfort.  The  subjects  of  his  works  are  very 
varied.  His  historic  portraits  are  famous.  He  executed  many  fres- 
cos. In  1844  he  went  to  Borne,  and  two  years  later  commenced,  in 
the  Council  Chamber  at  Aix,  a  series  of  scenes  illustrative  of  the  life 
of  Charlemagne.  But  his  mind  became  diseased,  he  imagined  and 
suffered  more  than  we  have  space  to  recount,  and  his  life  was  all  the 
more  sad  for  its  early  promise  of  brilliancy  unfulfilled. 

Among  his  works  may  be  mentioned,  "  The  Massacre  of  St.  Boni- 
face," "  The  Swiss  in  Prayer  before  the  Battle  of  Sempach,  1386," 
"Death  coming  as  a  Friend,"  "The  Dance  of  Death,"  "Death  as  an 
Avenger,"  etc.  In  the  Berlin  National  Gallery  is  his  picture  of 
"St.  Boniface,"  and  several  cartoons  of  his  pictures  at  Aix.  At 
the  Leipsic  Museum  is  his  picture  of  "  Peter  and  John  healing  the 
Lame  Man  at  the  Door  of  the  Temple." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  207 


Reusch,  Friedrich.  (Ger.)  Of  Berlin.  At  Philadelphia  he  ex- 
hibited "  A  Group  for  a  Fountain,"  in  bronze,  and  received  a  medal. 

Riviere,  Briton,  R.  A. '  (Brit.)  Born  in  London,  1840.  Son 
of  an  artist  of  considerable  ability,  from  whom  his  early  art-training 
was  received.  After  graduating  at  the  University  of  Oxford  he  settled 
in  the  neighborhood  of  London  in  1867,  devoting  himself  to  painting 
as  a  profession.  He  first  exhibited  at  the  Royal  Academy,  in  1858, 
"  Rest  from  Labor"  ;  in  1859,  "  On  the  Road  to  Gloucester  Fair  "  ; 
in  1864,  "Iron  Bars"  and  "Romeo  and  Juliet";  in  1866,  "The 
Poacher's  Nurse";  in  1867,  "Strayed  from  the  Flock"  and  "The 
Long  Sleep,"  which  first  attracted  popular  attention  to  his  work.  In 
1868  he  sent  the  "  Last  of  the  Garrison  "  ;  in  1870,  "  A  Midsummer 
Night's  Dream  "  ;  in  1872,  "  Daniel "  ;  in  1873,  "  Argus  "  ;  in  1874, 
"Apollo";  in  1876,  "A  Stern  Chase";  in  1877,  "A  Legend  of 
St.  Patrick  "  and  "  Lazarus."  He  was  elected  an  Associate  of  the 
Royal  Academy  in  1878,  contributing  "  Sympathy  "  and  "  An  Anx- 
ious Moment."  Among  his  water-color  paintings  may  be  mentioned 
"Fox  and  Geese"  (in  the  South  Kensington  Collection).  His 
" Charity"  (engraved  by  F.  Stacpoole)  received  a  medal  at  the 
Vienna  Exposition,  and  his  "  Circe  and  the  Companions  of  Ulysses" 
(engraved  by  the  same  artist)  and  "War-Time"  (R.  A.,  1875)  were 
at  the  Philadelphia  Exhibition  of  1876  ;  "The  Last  of  the  Garrison," 
"  Charity,"  and  "  Daniel "  were  at  Paris  in  1878.    [R.  A.,  1881.] 

"  There  is  a  pathos  in  this  composition  [« War-Time ']  so  touching  as  to  make  one 
turn  sadly  away  to  search  after  more  cheery  work,  before  examining  with  any  minute- 
ness the  other  contributions  of  the  same  excellent  artist."  —  Art  Journal,  June,  1875. 

" '  Circe  and  the  Companions  of  Ulysses,'  by  Mr.  B.  Riviere,  is  conceived  and  executed 
with  that  rare  skill  which  deservedly  entitles  this  artist  to  the  high  reputation  he  enjoys. 
The  humor  is  admirably  rendered,  and  exhibits  a  keen  appreciation  of  the  possibilities 
of  expression  in  swinish  physiognomy."  —  Prof.  Weir's  Official  Report  of  the  American 
Centennial  Exhibition  of  1876. 

Rhomberg,  Hanno.  (Ger.)  Born  at  Munich  (1820  -  1869).  Stud- 
ied under  Schnorr  and  Bernhard.  He  was  much  associated  with 
Enhuber,  who  influenced  him.  His  fame  dated  from  his  "  Traveling 
Students,"  which  Louis  I.  bought  for  the  Pinakothek.  Among  his 
earlier  works  are,  "  The  Work  of  a  Village  Painter,"  "  The  Votive 
Tablet,"  "The  Tight  Shoe,"  "The  Best  Scholar."  In  1869  he 
painted  "  An  Inn  Scene." 

Ribera,  Carlos  Louis.  (Span.-Fr.)  Born  at  Rome,  of  Spanish  par- 
ents, about  1812.  Two  medals  at  Paris.  Pupil  of  his  father  and  of  Paul 
Delaroche.  This  painter  has  lived  much  at  Paris,  and  has  exhibited 
at  many  Salons.  Among  his  works  are,  the  "  Origin  of  the  Family  of 
Los  Girones,"  "Battle  against  the  Moors  of  the  Sagra  of  Toledo," 
u  Don  Rodrigo  de  Calderon  led  to  Execution,"  and  "  Mary  Magdalene 
at  the  Sepulcher." 

Ricard,  Gustave.  (Fr.)  Born  at  Marseilles  (1824  -  1873).  Two 
medals  at  the  Salons.    This  painter  studied  in  his  native  city  until 


208     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1844,  when  lie  went  to  Paris  and  exhibited  the  portrait  of  Mme. 
Sabatier,  which  was  much  admired.  He  studied  under  Cogniet,  and 
made  many  copies  at  the  Louvre.  Three  years  later  he  went  to 
Home,  where  he  continued  to  make  copies  and  also  original  works. 
He  visited  Florence,  Venice,  and  England.  He  made  his  debut  at  the 
Salon  of  1850,  and  continued  to  exhibit  nine  years  ;  he  then  appeared 
no  more  until  1872,  when  he  sent  the  portrait  of  Paul  de  Musset. 
He  found  the  Salons  decidedly  against  his  ideas.  His  portraits,  how- 
ever, were  much  sought  In  1863  the  decoration  of  the  Legion  of 
Honor  was  tendered  him,  but  he  replied,  "  It  is  too  late,"  and  could 
not  be  prevailed  upon  to  change  his  decision.  He  lived  as  simply 
after  his  fortune  was  made  as  before,  and  admitted  but  few  to  his  home 
or  heart.  So  sudden  was  his  death  that  his  model  knocked  at  his  door 
as  he  breathed  his  last.  At  the  Wilson  Exhibition  at  Brussels,  in 
1873,  was  seen  his  own  portrait,  painted  by  himself  in  his  earlier  years. 

Richards,  T.  Addison,  N.  A.  (Am.)  Born  in  London,  1820.  In 
his  youth  he  resided  in  the  State  of  Georgia.  In  1845  he  removed  to 
the  city  of  New  York,  where,  with  the  exception  of  occasional  Amer- 
ican and  European  tours,  the  rest  of  his  professional  life  has  been 
spent.  In  1848  he  was  elected  an  Associate  of  the  National  Academy, 
Academician  in  1851,  and  Corresponding  Secretary  in  1852.  He  was 
the  first  Director  of  the  Cooper  Union  School  of  Design  for  Women, 
in  1858  to  '60,  and  since  1867  he  has  been  Professor  of  Art  in  the 
University  of  New  York.  Among  the  better  known  of  Mr.  Richards' 
early  paintings  may  be  mentioned,  "  Alastor,  or  the  Spirit  of  Soli- 
tude "  (from  Shelley's  poem),  at  the  National  Academy  in  1854  (be- 
longing to  Mr.  Wolsey  of  New  Haven)  ;  "  The  Indian  Paradise,  —  a 
Dream  of  the  Happy  Hunting-Ground,"  at  the  National  Academy  in 
1854  ;  "  The  Edisto  River,  S.  C."  ;  «  Live-Oaks  of  the  South  "  ;  "  The 
French  Broad  River,  N.  C,"  at  the  National  Academy  in  1859  ;  "  The 
River  Rhine"  and  "Warwick  Castle,"  in  1869  (belonging  to  N. 
Jarvis).  In  1871  a  collection  of  one  hundred  of  his  works  was  on  ex- 
hibition at  the  Somerville  Gallery  in  New  York,  including  American, 
Canadian,  tropical,  Swiss,  and  English  landscapes,  and  a  number  of 
fruit  and  flower  subjects,  which  were  afterwards  sold. 

His  "  Chatsworth,  England  "  and  "  Lake  Thun,  Switzerland  "  be- 
long to  A.  Jenkins  of  New  York  ;  "  Italian  Lake  Scene,"  to  A.  Aiken, 
New  York ;  "  Lake  Winnipiseogee,"  to  Mrs.  M.  B.  Young,  Fall 
River  ;  "  Sunnyside,"  to  James  S.  Virtue,  London.  Mr.  Richards 
has  furnished  illustrations  for  many  books  and  magazines.  The  first 
of  these  was  the  "  American  Artist,"  treating  of  flower-painting,  pub- 
lished in  Baltimore  as  early  as  1838 ;  followed  by  "  Georgia,  Illus- 
trated," steel-plates,  published  in  1842  ;  "  The  Romance  of  American 
Landscape,"  quarto,  in  1854  ;  "  Summer  Stories  of  the  South,"  in 
1853  ;  "  Pictures  and  Painters,"  in  1870.  He  was  also  engaged  on 
the  Appletons'  "Hand-Books  of  Travel,"  Illustrated  Guide- Books 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  209 


to  the  Hudson,  to  Saratoga,  to  Central  Park,  etc. ;  as  well  as  many- 
illustrated  papers  for  Harper's  Magazine,  including  "  Sunnyside,  the 
Home  of  Irving,"  "  Idlewild,  the  Home  of  Willis,"  "  Lake  George," 
"  The  Connecticut  River,"  "  The  Rice-Lands  of  the  South,"  and  so  on, 
in  a  great  many  instances  furnishing  the  letter-press  as  well  as  the 
plates. 

"  At  various  times  Mr.  Richards  has  visited  all  sections  of  the  country,  and  through 
the  medium  of  the  magazines  has  presented  to  his  countrymen  careful  and  accurate 
pictures  of  the  scenery  of  the  country,  from  the  sunny  valleys  of  New  England  to  the 
wide  savannahs  and  rolling  prairies  of  the  South  and  West.  In  addition  to  his  art 
labors  Mr.  Richards  has  also  devoted  much  time  to  literary  study,  and  many  of  the 
papers  that  have  appeared  in  Harper  and  the  Knickerbocker  are  the  products  alike  of 
his  pen  and  pencil."  —  New  York  Evening  Express,  February  29,  1868. 

"  Richards'  landscapes  range  through  a  considerable  variety  of  subjects,  the  most  of 
them  being  views  studied  by  the  artist  from  choice  portions  of  American  and  European 
scenery.  Some  are  compositions,  and  all  show  that  sure  artistic  sense  of  the  elements 
of  beauty  in  scenery,  which  has  heretofore  given  the  artist  his  rank  in  the  art-pro- 
ductions of  the  country.  Of  the  artist's  methods  of  technical  execution  it  is  needless  to 
speak  at  this  day,  his  style  probably  being  as  familiar  to  the  public  as  that  of  any 
of  the  veteran  exhibitors  on  the  walls  of  the  National  Academy."  —  Home  Journal, 
March  22,  1871. 

Richards,  William  T.,  N.  A.  (Am.)  Born  in  Philadelphia,  1833. 
At  an  early  age  he  turned  his  attention  to  the  study  of  art,  and  be- 
came a  painter  by  profession  in  1853.  In  1855  he  went  to  Europe, 
spending  a  year  in  study  and  observation  in  Florence,  Rome,  and 
Paris.  In  1856  he  opened  a  studio  in  Philadelphia,  and  in  1866  re- 
turned to  Europe  for  a  short  visit.  He  is  an  Honorary  Member  of 
the  National  Academy  of  Design  and  an  Associate  Member  of  the 
Water-Color  Society.  His  summers  of  late  years  have  been  spent  at 
Newport,  R.  I.  Among  his  works  in  oil  are  "  Mid-Ocean,"  "  New 
England  Coast,"  "  At  Atlantic  City,"  "  Midsummer,"  "  June  Woods," 
"  Wood  Scene,"  "  Spring,"  "  Summer  Afternoon,"  "  Ebb  Tide,"  "  Old 
Orchards  at  Newport,"  "  The  Inlet  near  Newport,"  and  "  Out  in  the 
Country."  In  1871  he  sent  to  the  Water- Color  Exhibition,  "  Mount 
Desert,"  "  Pulpit  Rock,  Nahant "  ;  in  1874,  "  Off  the  Spar  Buoy, 
Atlantic  City "  ;  in  1875,  "  Lake  Squam "  and  "  The  Third  Beach, 
Newport";  in  1876,  "Almy's  Pond"  and  "Gooseberry  Island," 
near  Newport ;  in  1877,  "Autumn,  near  Newport";  in  1878,  "So'- 
west  Point,  Conanicut "  and  "  Almy's  Pond,  Newport."  He  sent 
to  the  Paris  Exposition  of  1867  his  "Foggy  Day  at  Nantucket" 
(belonging  to  George  Whitney)  and  his  "  Woods  in  June  "  (belonging 
to  Robert  L.  Stuart).  To  the  American  Centennial  Exhibition  of 
1876  he  contributed  "The  Wissahickon"  (in  oil)  and  "Old  Trees  at 
Atlantic  City  "  and  "  Paradise,  Newport "  (in  water-colors),  for  which 
he  was  commended  by  the  judges.  His  "  Going  to  the  Spring  "  and 
"First  Beach,  Newport"  belonged  to  John  Taylor  Johnston,  and  his 
"  Sunset  on  the  Ocean,"  to  S.  J.  Harriot.  His  "  Spring,"  at  the 
Blodgett  sale,  brought  $  1,610.    To  Paris,  in  1878,  he  sent  "  South- 

N 


210     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


west  Point,  Conanicut,"  in  water-color,  and  three  pictures  in  oil,  — 
"  In  the  Woods,"  "  Spring,"  and  "  The  Forest."  ' 

"  So  carefully  painted  in  some  of  Richards'  landscapes  are  the  leaves,  grasses,  grain- 
stalks,  weeds,  stones,  and  flowers,  that  we  seem  not  to  be  looking  at  a  distant  prospect, 
but  lying  on  the  ground  with  herbage  and  blossoms  directly  under  our  eyes."  —  Tdcker- 
man's  Book  of  the  Artists. 

"Mr.  W.  T.  Richards  contributed  but  a  single  oil-painting,  'The  Wissahickon,'  not 
one  of  his  best  pictures.  This  artist  is  a  careful,  conscientious  student  of  Nature,  but 
it  is  only  recently  that  he  has  permitted  himself  to  exercise  that  freedom  and  largeness 
of  vision  characteristic  of  mature  art  ;  his  later  works  manifest  this  in  a  marked  degree. 
No  painter  is  more  thoroughly  master  of  the  sea  and  waves  in  motion  than  is  this  art- 
ist."—  Prof.  Weir's  Official  Report  of  the  American  Centennial  Exhibition  of 1876. 

"  William  T.  Richards'  '  Gull  Rock,  Newport,  —  Fog  coming  in '  [in  oil,  N.  A.,  1877] 
shows  water  without  life  or  transparency,  and  rocks  wanting  in  character.  The  picture 
is  quite  without  depth  or  originality. "  —  New  York  Times,  April  8,  1877. 

"  There  is  no  storm  ['  Gull  Rock,'  N.  A.,  1877],  but  the  dark  green  sea  lifts  with  a  deep 
pulsation,  and  dashes  over  the  rock  with  a  resistless  motion  that  is  very  suggestive  of 
latent  power.  It  is  a  picture  full  of  large  simplicity  and  quiet  truth  that  study  cannot 
easily  exhaust. " —  Art  Journal,  May,  1877. 

1 '  Richards  is  one  of  the  first  American  painters  who  adopted  the  pre-Raphaelite  style 
of  treatment  in  their  pictures  ;  this  was  in  1858,  and  since  that  time  no  artist  in  this 

country  has  achieved  greater  success  in  the  profession  His  drawing  is  never  at 

fault,  and  the  crispness  of  his  touch  is  charming."  — Art  Journal,  August,  1877. 

Richards,  Orren  C.  (Am.)  Born  in  South  Boston,  1842.  In 
1857  he  began  the  study  of  decoration  with  Thomas  Savory  in  Boston. 
In  1860  he  studied  under  George  Inness  at  Medfield,  Mass.  He  en- 
tered the  army  at  the  outbreak  of  the  Civil  War.  He  has  painted 
scenery  at  nearly  all  of  the  Boston  theaters,  and  easel-pictures  of  still- 
life,  in  oil.  His  "  Peonies "  (belonging  to  Mrs.  E.  E.  Slack)  was  at 
the  Mechanics'  Fair,  Boston,  in  1878. 

Richardson,  T.  M.  (Brit.)  Contemporary  English  water-color 
artist,  residing  in  London,  and  for  many  years  a  member  of  the  Old 
Water-Color  Society.  He  paints  landscapes,  generally  of  the  High- 
lands of  Scotland  and  the  Continent.  Among  his  works,  exhibited  in 
different  seasons,  are,  "  Loch  Tulla,"  "  Loch  Awe,"  "  Glen  Nevis,"  "  Look- 
ing towards  Glencoe,"  "  Argyleshire,"  "  On  the  River  Oran,"  "Bone 
Church,  Isle  of  Wight,"  "  Lago  Maggiore,"  "  Via  Mala,"  "  Market- 
Boats,  Lake  Como,"  etc. 

"  In  No.  36  [Society  of  Painters  in  Water-Colors,  1873],  by  T.  M.  Richardson,  we  have 
one  of  those  luxuriously  colored  and  elaborately  worked  drawings  on  which  this  artist 
has  built  his  reputation.  It  is  entitled  1  In  the  Neighborhood  of  the  Town  of  Cozenzos, 
Northern  Calabria. '  The  mountains,  of  which  a  mass  closes  the  middle  distance,  are  most 
skillfully  drawn  and  richly  colored,  and  in  the  entire  composition  there  is  a  complete- 
ness which  almost  bespeaks  a  scenic  study."  — Art  Journal,  June,  1873. 

Richet,  Leon.  (Fr.)  Born  at  Solesmes.  Pupil  of  Diaz,  whose 
style  he  has  adopted.  His  pictures  are  charming.  In  the  collection 
of  Mrs.  H.  E.  Maynarcl  of  Boston  is  "Near  Nouvion,  in  Picardy." 
His  works  are  rare  in  America.  At  the  Salon  of  1877  he  exhibited 
"  Aurora "  and  "  Route  of  the  Artists,  Forest  of  Fontainebleau  "  ;  in 
1876,"  The  Boundaries  of  Barbison,  Forest  of  Fontainebleau  "  and  "After 
the  Storm";  in  1878,  "A  Scene  near  Evreux"  and  "The  Gleaners." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  211 


Richmond,  George,  R.  A.  (Brit.)  Born  in  1809.  Entered  the 
schools  of  the  Royal  Academy  in  1824.  He  made  his  most  decided 
success  as  a  portrait-painter,  at  first  in  water-colors  and  crayon,  later 
in  oils.  He  was  elected  an  Associate  of  the  Royal  Academy  in  1859, 
and  Academician  in  1867.  Among  his  later  portraits  may  be  men- 
tioned, "  The  Earl  of  Elgin,"  in  1860  ;  "Edward  M.  Ward,  R.  A.,"  in 
1861  ;  "  The  Duke  of  Buccleuch,"  in  1865  ;  "Sir  Moses  Montefiore," 
in  1875  ;  and  many  prominent  people  of  church  and  state.  Among 
his  paintings  of  another  class  are,  "  The  Agony  in  the  Garden,"  in 
1858  ;  "  Sunset  from  Hyde  Park,"  in  1861  ;  and  "  A  Scene  from 
*  Comus,1  —  the  Measure,"  in  1864. 

"  The  art  of  George  Richmond  is  studious  and  painstaking  to  almost  too  great  a  de- 
gree, leaving  upon  the  mind  not  a  very  vivid  sense  of  freshness  of  vision  in  the  painter. 
The  work  is  often  overlabored,  the  necessary  impression  of  spontaneous  vitality  drawn 
unfairly  out  by  hard  and  cautious  style.  Still  in  everything  from  this  painter's  hands 
we  have  work  that  carries  with  it  a  conviction  of  conscientious  and  well-directed  effort, 
oftentimes  yielding  a  cultured  and  satisfying  result."  —  Art  Journal,  July,  1873. 

Richomme,  Jules.  (Fr.)  Born  at  Paris,  1818.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Drolling.  Made  his  debut  as  a  por- 
trait-painter in  1839.  Richomme  has  executed  mural  paintings  in 
the  church  of  Saint-Severin  at  Paris,  and  in  several  provincial 
churches.  His  picture  of  "St.  Peter  of  Alcantara  healing  a  Sick 
Child"  (1864)  is  at  the  Luxembourg.  In  1877  he  exhibited  "An 
Arab  Woman  "  and  "  The  Chinese  Doll " ;  in  1876,  "  The  Dove  "  and 
a  portrait  of  the  Marquise  Ginori  ;  in  1875,  "  The  Shower,"  "  The 
Little  Idle  One,"  and  the  "  First  Lesson  on  the  Violin." 

Richter,  Adrian  Ludwig.  (Ger.)  Born  at  Dresden,  1803.  This 
artist  was,  in  early  life,  a  painter  and  designer,  as  well  as  an  engraver. 
But  his  labors  as  a  designer  were  the  most  important,  and  occasioned 
his  traveling  quite  extensively.  In  1828  he  was  appointed  to  the 
School  of  Design  of  the  porcelain  factory  at  Meissen,  and  later  he 
became  professor  and  president  of  the  landscape  studio  in  the  Academy 
of  Dresden,  and  also  a  member  of  the  Council  of  that  Academy.  His 
oil-paintings  are  few  in  comparison  with  his  designs  and  engravings, 
but  they  are  such  as  give  him  good  rank  among  German  landscape- 
painters.    [Died,  1884.] 

Richter,  Gustav.  (Ger.)  Born  at  Berlin  about  1822.  Professor 
and  member  of  the  Senate  of  the  Royal  Academy  of  Arts  in  Berlin, 
and  member  of  the  Academies  of  Munich  and  Vienna.  Grand  medal 
in  Berlin,  1864,  and  other  medals  at  Paris,  Brussels,  Vienna,  and 
Philadelphia.  This  artist  is  known  in  America  by  chromos  from  his 
pictures,  which  are  brilliant  in  color,  and  charming  to  the  public  gen- 
erally. His  Oriental  scenes  are  very  rich  in  effect.  His  portraits  are 
excellent.  Among  his  works  are,  the  "  Odalisque,"  "  The  Raising  of 
Jairus'  Daughter"  (at  the  National  Gallery,  Berlin),  and  many  por- 
traits. He  sent  to  the  Philadelphia  Exposition  a  portrait  of  the  Hon. 
George  Bancroft.    At  the  Exposition  at  the  Academy  at  Berlin,  in 


212     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1876,  he  exhibited  three  portraits  and  the  "  Lowenritt,"  and  at  the 
Paris  Exposition,  1878,  three  portraits.    [Died,  1884.] 

"  In  spite  of  the  artificial  arrangement  of  his  works  his  excellence  is  chiefly  shown  in 
his  delicate  painting,  his  well-balanced  parts,  his  careful  and  often  corrected  modeling, 
and  the  beautiful  coloring  in  the  principal  lights,  while  his  shadows  so  round  the  flesh 
parts  that  they  are  softened  to  an  ivory-like  smoothness."  —  R.  D.  in  Zeitschrift fur  bil- 
dende  Kunst,  1875. 

Riedel,  August.  (Ger.)  Born  at  Bayreuth,  1800.  Professor  of 
St.  Luke's  Academy  at  Borne.  Member  of  the  Academies  of  Berlin, 
Munich,  Vienna,  and  St.  Petersburg.  Pupil  of  the  Academy  of  Mu- 
nich. His  pictures  are  landscapes  and  genre  scenes,  and  are  in  many 
galleries,  both  public  and  private.  The  "Albanian  Girls  "  and  "  Bath- 
ing Girls  "  are  in  the  National  Gallery,  Berlin. 

Riefstahl,  Wilhelm  Ludwig  Friedrich.  (Ger.)  Born  at  Neu- 
Strellitz,  1827.  Director  of  the  Art  School  at  Carlsruhe.  Medals 
at  Berlin ;  and  member  of  Berlin  Academy,  at  which  place  he  studied. 
In  1848  he  made  the  designs  for  illustrating  "  Kugler's  History  of 
Art."  He  traveled  much  in  mountainous  countries,  and  was  passion- 
ately fond  of  their  scenery.  In  1869  he  went  to  Rome.  At  the  Na- 
tional Gallery  at  Berlin  are  his  "  Mountain  Chapel  with  Herdsmen  at 
Devotion"  and  "All  Souls'  Day  in  Bregenz."  In  Berlin,  in  1876,  he 
exhibited  "  A  Convent  on  the  Inn  " ;  and  at  the  Paris  Exposition  of 
1878,  "The  Pantheon  of  Agrippa  at  Rome"  and  "Attendant  le  cer- 
cueil." 

Eugene  Miintz  says  of  Riefstahl :  "  He  sees  justly,  feels  profoundly, 
and  knows  how  to  express  what  he  feels." 

Ri^sener,  Louis- Antoine-L^on.  (Fr.)  Born  at  Paris,  1808. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  David  and  Gros.  His 
picture  of  "  Erigone  "  (1864)  is  at  the  Luxembourg.  Among  his  works 
are,  "  Roses,"  "  Bacchus  and  Ariadne,"  "  The  Awaking,"  "  The  Toi- 
lette," "  Country  Pleasures,"  "  The  Brook  in  the  Wood,"  and  "  Le  doux 
sommeil  secoue  sur  lui  ses  pavots."    [Died,  1878.] 

Rimmer,  William.  (Am.)  Born  in  Boston,  1821.  He  was  edu- 
cated for  the  medical  profession,  devoting  himself  particularly  to 
anatomy.  Later,  he  turned  his  attention  to  sculpture  and  to  art  in- 
struction. He  has  delivered  a  valuable  course  of  lectures  on  art  anat- 
omy at  the  Lowell  Institute,  Boston,  at  the  University  at  Cambridge, 
Mass.,  before  the  National  Academy,  New  York,  and  elsewhere.  He 
was  Director  of  the  School  of  Design  of  the  Cooper  Institute,  New 
York,  for  some  years.  He  published,  in  1864,  a  volume  entitled  "  The 
Elements  of  Design."  Among  his  sculptured  works  are  statues  of 
Alexander  Hamilton,  "  Falling  Gladiator,"  etc.,  and  a  colossal  head 
of  "  St.  Stephen,"  in  granite.    [Died,  1879.] 

"  This  artist  [Dr.  Rimmer]  has  wrought  a  figure  of  the  most  rare  anatomical  power 
and  truth  ;  and  a  group  which  was  mistaken  for  Bunyan's  '  Great-Heart  and  Giant  Grim ' 
in  mortal  struggle,  but  which  was  intended  to  represent  4  Union  and  Secession.'"  — 
Tuckerman's  Book  of  the  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  213 


"  Dr.  Rimmer,  an  accomplished  teacher  of  design,  of  much  original  mental  force, 
destined  to  do  good  service  to  American  art,  has  given  a  striking  example  of  his  capacity 
for  realistic  sculpture  in  the  model  of  an  athlete  reeling  under  the  force  of  a  death- 
blow.   The  knowledge  of  anatomical  science  displayed  is  wonderful  In  a  head 

of  '  St.  Stephen,'  carved  by  himself  from  granite,  Dr.  Rimmer  has  shown  a  fine  capacity 
for  lofty  expression."  —  Jarves,  Art  Idea. 

Rineh art,  William  Henry.  (Am.)  Born  in  Frederick,  Md.  (1825- 
1874).  In  his  youth  he  was  apprenticed  to  a  stone-cutter  in  Balti- 
more, studying  in  the  night  schools  of  the  Maryland  Institute.  He 
went  to  Italy  in  1855,  studying  and  working  at  sculpture  in  Florence 
for  three  years.  He  returned  to  Baltimore  in  1858,  but  after  a  short 
stay,  went  again  to  Italy,  opening  a  studio  in  Rome,  where  the  rest  of 
his  life  was  spent.  Among  his  works  may  be  mentioned,  "  The  Wood- 
man" (one  of  the  earliest),  "  Leander,"  "  Night,"  "  Morning,"  "Woman 
of  Samaria,"  "  Indian  Maiden,"  "  Rebecca,"  "  A  Nymph,"  "  Endym- 
ion,"  "Hero,"  "  Atalanta,"  and  "Clytie"  (in  the  Peabody  Institute, 
Baltimore).  He  executed  many  portrait  busts.  His  statue  of  Chief 
Justice  Taney,  ordered  by  the  State  of  Maryland,  was  unveiled  at 
Annapolis  in  1872. 

"  Rinehart's  '  Woman  of  Samaria '  is  admired  for  the  deep  and  pure  thoughtfulness 
of  her  expression,  as  if  the  words  of  Christ  had  sunk  into  her  soul.  He  has  charmingly 
illustrated  maternal  affection  in  his  '  Latona  and  her  Infant,'  while  two  sleeping  babes  on 
one  pillow  are  full  of  nature  and  beauty."  — Tuckerman's  Book  of  the  Artists. 

Ritchie,  Alexander  H.,  N.  A.  (Brit-Am.)  Born  in  Glasgow, 
1822.  He  studied  drawing  in  the  Royal  Institution  at  Edinburgh, 
under  Sir  William  Allan,  and  during  his  first  year  received  four  pre- 
miums. He  has  been  a  resident  of  New  York  for  many  years.  In 
1871  he  was  elected  a  member  of  the  National  Academy.  He  is  a 
painter  and  engraver,  and  is  highly  regarded  in  both  branches  of  his 
profession.  Among  his  works  in  oils  are,  "  Mercy  knocking  at  the 
Gate,"  "  Fitting  out  Moses  for  the  Fair,"  "  Death  of  Lincoln,"  "  Baby, 
who 's  that?"  (portraits),  and  portraits  of  Dr.  McCosh  of  Princeton, 
Prof.  Charles  Hodge  of  Princeton,  etc.,  all  exhibited  at  the  National 
Academy.  He  engraved  "  Washington  and  his  Generals  "  and  "  Mercy 
at  the  Gate,"  after  his  own  pictures ;  "  Contemplation,"  after  S.  J.  Guy; 
"  Washington  entering  New  York,"  "  The  First  Blow  for  Liberty," 
and  "  The  March  to  the  Sea,"  after  Darley;  "  Lady  Washington's  Re- 
ception," after  Huntington ;  etc. 

Rivalta,  Augusto.  (Ital.)  Born  at  Genoa,  1837.  Professor  in 
the  Academy  of  Florence.  He  has  received  many  medals.  His  early 
inclination  for  art  was  cultivated,  and  he  soon  became  known  for  his 
taste  in  composition  and  his  skill  in  execution.  He  went  to  Florence, 
and  there  modeled  his  statue  of  "  Clinzia,"  which  he  sent  to  the  Accade- 
mia  Ligure.  His  most  famous  work  is  called  "  An  Episode  of  War," 
and  represents  a  wounded  soldier  supported  by  a  brother  soldier  and 
a  Sister  of  Charity.  It  is  full  of  feeling,  and  admirably  executed. 
The  subject  was  suggested  to  the  artist  by  his  own  experience  as  a  vol- 


214     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


unteer.  His  statues  of  Niccolini  the  poet  for  Florence,  and  Cavour 
for  Naples,  are  very  fine.  For  the  Hospital  for  the  Poor  in  Genoa 
he  made  the  statue  of  Palleri  and  the  monument  to  the  Marchesa 
Corsi  Pallavicini.  For  the  celebrated  Cemetery  of  Stagheno  he  has 
made  several  monuments ;  those  of  Giuseppina  Croce  and  Bartolomeo 
Savi  deserve  mention. 

Robbe,  Louis-Marie-Dominique-Romain.  {Belgian.)  Born  at 
Courtrai,  1807.  Chevalier  of  the  Legion  of  Honor,  of  the  Order  of 
Leopold,  and  of  that  of  Charles  III.  of  Spain.  His  pictures  are  of 
animals,  and  much  admired.  His  "  Shepherd  and  Flock  "  is  in  the 
collection  of  Mrs.  H.  E.  Maynard,  Boston. 

Robbe,  Henri.  {Belgian.)  Brother  of  the  preceding.  He  is  a 
painter  of  fruits  and  flowers,  and  has  received  several  medals. 

Robbins,  Horace  W.,  N.  A.  ( Am.)  Born  in  Mobile,  Ala.,  1842. 
When  about  twenty-one  years  of  age  he  entered  the  studio  of  James 
M.  Hart  in  New  York,  where  he  spent  a  few  months.  Later,  he 
opened  a  studio  of  his  own.  In  1865  he  visited  Jamaica  with  F.  E. 
Church,  going  thence  directly  to  Europe.  He  worked  in  Paris  dur- 
ing three  winters,  from  that  of  1865,  making  sketching-tours  during 
the  summer  months  in  Switzerland  and  elsewhere.  He  returned  to 
New  York  in  the  fall  of  1867,  and  has  since  resided  principally  in 
that  city.  He  was  elected  an  Associate  of  the  National  Academy  in 
1864,  and  Academician  in  1878.  He  is  Secretary  of  the  Artists'  Fund 
Society,  and  has  been  a  member  of  the  Water-Color  Society  for  some 
years.  To  the  National  Academy  in  1869  he  sent,  "  The  Close  of 
a  Cloudy  Day "  ;  in  1870,  "  A  Tropical  View "  (belonging  to  Dr. 
F.  N.  Otis) ;  in  1871,  "  An  Autumnal  Morning"  (belonging  to  D.  C. 
Blodgett)  ;  in  1873,  "  A  Morning  View  in  Switzerland  "  ;  in  1874, 
''Morning  in  Jamaica"  ;  in  1875,  "Passing  Shower,  Jamaica"  (be- 
longing to  J.  Vanderpoel  of  New  York)  ;  in  1876,  "  Flooded  Mead- 
ows "  ;  in  1877,  "Harbor  Islands,  Lake  George";  in  1878,  "Morning 
in  the  Adirondacks "  and  "  Sunny  Banks  of  the  Ausable."  Among 
his  contributions  to  the  Exhibitions  of  the  Water-Color  Society  may 
be  mentioned,  "A  New  England  Road  Scene,"  in  1877,  and  "A 
New  England  Homestead,"  in  1878. 

To  the  Centennial  Exhibition  at  Philadelphia,  in  1876,  he  contrib- 
uted "  New  England, —  Autumn"  and  "Farmington  River,  Ct.";  to 
the  Paris  Exposition  of  1878,  "Harbor  Islands,  Lake  George."  His 
"  White  Mountain  Scenery  "  belongs  to  W.  S.  G.  Baker  of  Baltimore  ; 
"  Mount  Madison,"  to  H.  W.  Robbins  ;  "  Roadside  Elms,"  to  Mrs. 
Attwood  of  Poughkeepsie  ;  "  Mount  Philip,  from  the  Farmington 
River,"  to  G.  D.  Phelps  of  New  York  ;  and  "  The  Freshet,"  to  Mrs. 
A.  R.  Phelps  of  Hartford. 

Rober,  Ernst.  {Ger.)  Born  at  Elberfeld,  1849.  Pupil  of  the 
Diisseldorf  Academy  and  of  E.  Bendemann.  At  the  National  Gallery 
of  Berlin  are  some  of  his  decorative  paintings  in  the  Halle  von  der 
Nische. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  215 


Rober,  Fritz.  (Ger.)  Born  at  Elberfeld,  1851.  Brother  and  pupil 
of  the  preceding.    He  also  painted  in  the  National  Gallery  at  Berlin. 

Robert,  Leo-Paul.  (Swiss.)  Born  at  Bienne.  Medal  in  1877. 
Pupil  of  his  father  and  Gerome.  At  the  Salon  of  1877  he  exhibited 
"  The  Zephyrs  of  a  Beautiful  Evening." 

Robert-Fleury,  Joseph-Nicolas.  (Fr.)  Born  at  Cologne,  of 
French  parents,  1797.  Member  of  the  Institute.  Commander  of  the 
Legion  of  Honor.  He  studied  in  Paris  under  Girodet,  Gros,  and 
Horace  Vernet.  Visited  Italy,  and  remained  there  several  years. 
Made  his  debut  at  the  Salon  of  1824.  At  the  Luxembourg  are  his 
"Conference  at  Poissy  in  1561"  (1840),  "Jane  Shore"  (1850),  and 
the  "  Pillage  of  a  House  in  the  Jews'  Quarter  at  Venice  in  the  Middle 
Ages  "  (1855).  "  The  Entrance  of  Clovis  into  Tours  "  is  at  Versailles. 
This  painter  has  been  Professor  at  l'Ecole  des  Beaux- Arts  in  Paris  and 
at  the  Villa  Medici  at  Rome.  In  1864  he  was  a  member  of  the 
Municipal  Council  of  Paris.  The  following  important  works  were 
executed  by  Robert-Fleury  for  the  decoration  of  the  Audience  Hall 
in  the  new  palace  of  the  Tribunal  of  Commerce  :  "  The  Institution 
of  the  Juges  consuls,  in  1563,"  "  The  Promulgation  of  the  Ordinance 
of  Commerce  in  1673,"  "  Napoleon  receiving  the  Code  of  Commerce 
presented  to  him  by  President  Vignon  in  1807,"  and  "  Napoleon  III. 
visiting  the  New  Palace  of  the  Tribunal  of  Commerce  in  1865."  Con- 
cerning these  works  Rene  Menard  wrote  in  the  "  Gazette  des  Beaux- 
Arts,"  February,  1869,  a  long  article,  which  closes  thus  :  — 

"  As  a  whole,  these  great  canvases  are  an  honor  to  Robert-Fleury,  and  prove  what 
veritable  power  there  is  in  that  talent  which  holds  its  superiority  despite  the  most  un- 
favorable conditions.  Robert-Fleury  had  never  attempted  works  of  grand  dimensions, 
and  his  debut  is  the  work  of  a  master  ;  he  had  never  painted  official  subjects,  and  in  this 
difficult  and  thankless  style  he  takes  a  first  rank.  All  that  is  wanting  to  make  his  work 
complete  is  a  greater  freedom  of  inspiration.  A  man  of  talent  is  always  master  of  his 
execution,  because  he  rules  it  with  all  the  superiority  of  his  science  ;  but  inspiration  de- 
mands that  it  shall  not  be  shackled  by  restrictions  which  straiten  it.  It  is  only  able  to 
soar  when  it  is  personal,  and  has  the  fundamental  laws  of  art  alone  for  its  guide." 

At  the  Pereire  sale  in  Paris,  1872,  "Charles  V.  in  the  Monastery  of 
St.  Just  "  sold  for  £  1,600.  At  the  Oppenheim  sale,  Paris,  1877,  "  The 
Sack  of  Rome  "  sold  for  12,700  francs. 

Robert-Fleury,  Tony.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Son  of  Joseph-Nicolas  Robert-Fleury.  Pupil  of 
Delaroche  and  Cogniet.  Painter  of  historical  subjects  and  portraits. 
In  the  Luxembourg  are  his  "  Les  vieilles  de  la  Place  Navona,  Rome  " 
(1867),  and  «  The  Last  Day  of  Corinth"  (1870).  In  1866  he  exhib- 
ited "  Varsovie,  the  8th  of  April,  1861,"  and  received  for  it  his  first 
medal ;  in  1873,  "  The  Danaides  "  ;  in  1874,  "  Charlotte  Corday  at 
Caen,  1793"  ;  in  1876,  "  Pinel,  Chief  Physician  at  the  Salpetriere  in 
1795"  ;  in  1877,  two  portraits. 

Roberts,  David,  R.  A.  (Brit.)  Born  in  Edinburgh  (1796  -  1864). 
He  served  an  apprenticeship  of  seven  years  in  his  native  city,  as 


21 G     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


house-painter  and  decorator,  and  was  engaged  for  some  time  as  a 
scene-painter,  with  a  company  of  strolling  players.  He  received  no 
regular  instruction  in  art.  He  painted  scenes  for  the  theaters  of 
Edinburgh  and  Glasgow,  and  for  Drury  Lane  Theater  in  London  in 
1822.  He  exhibited  pictures  in  Scotland,  and  in  several  provincial 
cities  of  England,  sending  his  first  work  to  the  Royal  Academy,  in 
1826,  "  A  View  of  Rouen  Cathedral."  In  1838  he  was  elected  an 
Associate  of  the  Royal  Academy,  and  A  cademician  in  1841.  He  trav- 
eled extensively  on  the  Continent  and  in  the  East,  painting  out  of 
England  some  of  his  best-known  works,  "  Jerusalem  from  the  Mount 
of  Olives,"  "  The  Church  of  the  Holy  Nativity,  Bethlehem,"  "  The 
Gateway  of  the  Great  Temple,  Baalbec,"  etc.  Later,  he  studied  in 
Italy,  and  in  his  own  country,  exhibiting  at  the  Royal  Academy,  in 
1860,  "  Venice,  the  Piazza  of  St.  Mark's,"  "  A  Street  in  Antwerp," 
"  The  Interior  of  the  Cathedral  of  Pisa,"  and  "  The  Coliseum,  Rome, 
—  Evening"  ;  in  1861  he  sent  "Ruins  of  the  Temple  of  the  Sun  at 
Baalbec"  and  "  A  Fete-Day  at  St.  Peter's"  ;  in  1862,  "  A  Chapel  of 
the  Cathedral  of  Notre  Dame,  Bruges,"  and  a  series  of  views  on  the 
river  Thames,  from  Chelsea  to  Greenwich,  which  were  continued  the 
following  year,  and  upon  which  he  was  at  work  at  the  time  of  his 
sudden  death  in  1864.  His  "  Chancel  of  the  Church  of  St.  Paul, 
Antwerp"  (1848)  and  "The  Interior  of  Burgos  Cathedral,  North 
Transept"  (1835,  belonging  to  the  Vernon  Collection)  are  in  the  Na^ 
tional  Gallery,  London.  His  "  Crypt,  Roslin  Castle,"  "  The  Gate  of 
Cairo  "  (1843),  and  "  Old  Buildings  on  the  Darro,  Granada  "  are  in 
the  Cruikshank  Collection.  Many  of  his  works  have  been  engraved, 
and  £  16,000  was  raised  by  the  exhibition  and  sale  of  some  of  his 
sketches  and  paintings  in  1865.  He  was  an  Honorary  Member  of 
the  Royal  Scottish  Academy,  and  of  several  continental  institutions 
of  a  similar  kind. 

"  From  his  early  occupation  as  scene-painter,  Roberts  borrowed  broad  effects  which 
saved  him  alike  from  trifling  minuteness  and  servile  imitation  His  work  was  uni- 
formly scenic,  made  up  of  buildings  and  street  scenes,  and,  although  he  knew  how  to 
vary  and  animate  these  by  the  introduction  of  numerous  characteristic  figures,  they  were 

apt  to  partake  of  the  groupings  of  stage  processions  But  he  loved  the  buildings 

which  he  was  content  to  paint,  loved  every  vaulted  arch  and  wreathed  pillar,  down  to 
the  individual  stones  of  the  pavement,  and  rendered  them  all  with  rare  fidelity  and 
grace."  —  Mrs.  Tvtler's  Modern  Painters  and  Paintings. 

"Among  the  members  of  the  Academy  we  have  at  present  only  one  professedly  archi- 
tectural draughtsman  of  note,  David  Roberts,  whose  reputation  is  probably  further  ex- 
tended on  the  Continent  than  that  of  any  other  of  our  artists  except  Landseer  The 

fidelity  of  intention  and  honesty  of  system  of  Roberts  have  been,  however,  always  meri- 
torious ;  his  drawing  of  architecture  is  dependent  on  no  unintelligible  lines,  or  blots,  or 
substituted  types  ;  the  main  lines  of  the  real  design  are  always  there,  and  its  hollowness 
and  undercutting  given  with  exquisite  feeling.  His  sense  of  solidity  of  form  is  very 
peculiar,  leading  him  to  dwell  with  great  delight  on  the  roundings  of  edges  and  angles  ; 
his  execution  is  dexterous  and  delicate,  singularly  so,  in  oil ;  and  his  sense  of  chiaro- 
scuro refined."  —  Ruskin's  Modem  Painters. 

Roberts,  Edward  J.  {Brit.)  (1797-1865.)  An  engraver.  Pupil 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  217 

and  for  some  years  an  assistant  of  Heath  in  London,  doing  much  fine 
work  in  the  illustrating  of  gift-books  and  elaborate  editions  of  stand- 
ard authors.  His  etchings  are  still  highly  regarded  by  critics  and 
connoisseurs.    He  executed  but  few  large  plates. 

Roberts,  Thomas.  (Brit.)  Born  in  1820.  Educated  as  an  en- 
graver, he  followed  that  branch  of  the  profession  for  some  time,  de- 
voting himself  to  the  brush  when  about  twenty-five  years  of  age.  He 
was  made  a  member  of  the  Society  of  British  Artists  in  1855,  and 
has  been  its  secretary  for  upwards  of  twenty  years.  Among  his  later 
works  are,  "  The  Image  of  his  Father,"  in  1877  ;  and  "  The  Missing 
Curl,"  in  1878.  To  the  Philadelphia  Exhibition,  in  1876,  he  sent 
"  The  Night  before  Bosworth." 

Roberts,  Howard.  (Am.)  Born  in  Philadelphia,  1843.  He 
began  his  art  studies  under  J.  A.  Bailly,  in  the  Pennsylvania  Academy 
of  Fine  Arts.  At  the  age  of  twenty-three  he  went  to  Europe,  enter- 
ing l'rtcole  des  Beaux- Arts  in  Paris,  and  spending  some  years  in  that 
city  in  study  under  Dumont  and  Gumery.  Returning  to  America,  he 
opened  a  studio  in  Philadelphia,  and  modeled  his  first  important 
work,  a  statuette  of  u  Hester  and  Pearl,"  from  the  "  Scarlet  Letter," 
exhibited  at  the  Academy  of  Fine  Arts,  and  attracting  much  atten- 
tion. This  was  followed  by  "  Hypatia,"  "  Lucille,"  and  other  ideal 
and  portrait  busts.  He  went  again  to  Paris  in  1873,  remaining  a  year 
at  work  in  that  city,  and  modeling  there  "  La  Premiere  Pose,"  which 
was  at  the  Centennial  Exhibition  of  1876,  receiving  a  medal.  His 
latest  work  is  a  statuette  of  "  Lot's  Wife."  On  the  strength  of  the 
"  Hester  and  Pearl "  he  was  elected  a  member  of  the  Philadelphia 
Academy. 

Lot's  Wife '  is  a  very  singular  creation,  which  could  only  have  been  imagined  by 
the  artist  in  a  grotesque  mood.  It  cannot  be  called  beautiful,  but  it  is  most  original  in 
conception  and  execution  ;  and  in  spite  of  its  grotesqueness,  it  is  full  of  power  and  im- 

pressiveness  Roberts'  busts  are  charming,  those  representing  childhood  and 

womanhood  especially.  His  ideal  busts  are  the  inspirations  of  a  most  rare  fancy,  while 
his  portraits  have  that  inestimable  quality  in  all  portraits,  of  showing  their  subjects  at 
their  best,  while  losing  none  of  their  resemblance."  —  William  J.  Clarke,  Jr.,  Great 
American  Sculptors. 

"  Roberts  is  one  of  the  most  careful  and  conscientious  of  young  American  sculptors, 
and  one  of  the  best  trained.  All  his  works  show  very  careful  study  and  real  knowledge, 
gained  by  patient  endeavor.  His  '  La  Premiere  Pose'  was  one  of  the  three  works  of 
American  sculptors  to  which  medals  were  awarded  at  the  Centennial  Exhibition  of  1876." 
—  Art  Journal,  April,  1877. 

Robie,  Jean-Baptiste.  (Belgian.)  Born  at  Brussels,  1821.  He 
has  received  medals  at  Paris  and  The  Hague,  and  is  Chevalier  of  the 
Order  of  Leopold.  His  fine  pictures  of  flowers  and  fruits  are  well 
known  in  Europe  and  America.  At  the  Johnston  sale,  New  York, 
1876,  "  The  Massacre  of  the  Innocents  "  (18  by  24)  sold  for  $  550. 
His  "  Flowers  and  Objects  of  Art "  is  in  the  collection  of  Mr.  T.  R. 
Butler  of  New  York. 

Robinson,  John  Henry,  R.  A.    (Brit.)    (1796  -  1871.)   Went  to 

VOL.  II.  10 


218     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


London  in  his  youth,  and  was  articled  to  James  Heath.  One  of  the 
first  of  his  engravings  which  attracted  attention  was  "  The  Wolf  and 
the  Lamb,"  after  Mulready.  Among  other  plates  are,  "  Napoleon  and 
Pius  VII/'  (after  Wilkie),  "  Little  Red  Riding-Hood  "  (after  Land- 
seer),  portrait  of  Sir  Walter  Scott  (after  Lawrence),  Vandyck's  por- 
trait of  Rubens,  Murillo's  "  Spanish  Flower- Girl,"  Leslie's  "  Mother 
and  Child,"  and  many  more.  He  was  elected  Associate  Engraver  of 
the  Royal  Academy  in  1856,  and  Academician  in  1867. 

Robinson,  Thomas.  (Am.)  Born  in  Nova  Scotia,  1835.  He 
studied  in  Paris  under  Courbet,  and  received  also  instructions  from 
Auguste  Bonheur,  although  he  was  not  a  regular  pupil  of  the  latter 
artist.  He  has  lived  and  painted  in  Providence,  R.  I.,  in  Boston,  and 
in  Prance.  A  number  of  his  works  were  sold  in  Boston  in  the  spring 
of  1878.  He  sent  to  the  Centennial  Exhibition  of  1876,  "A  Bull's 
Head  "  (belonging  to  Dr.  Angell  of  Boston),  "  Dog's  Head,"  "  Sheep  in 
Pasture,"  and  "  A  New  England  Farmer  "  (belonging  to  John  Foster 
of  Boston).  He  painted  a  portrait  group  of  five  dogs  (belonging  to 
William  Sprague),  and  his  pictures  are  owned  by  Amasa  Sprague, 
Mrs.  Charles  Ames,  and  others.  His  "  Sprague's  String  Team,"  painted 
for  Amasa  Sprague,  attracted  much  attention.  One  of  his  earlier 
works,  a  fruit-piece,  is  in  the  possession  of  Thomas  J.  Flagg  of  New 
York. 

Rodakowski,  Henri.  (Pole.)  Born  at  Lemberg,  1823.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Cogniet.  Among  his  works  are 
many  portraits,  and  some  historical  subjects,  such  as  "  Sigismond  I. 
of  Poland,  conquered  by  the  Seditions  of  the  Nobles  and  the  Intrigues 
of  Queen  Bona  Sforza,  making  Proclamation,  etc.,"  "  The  Battle  of 
Choczim,"  "  Peasants  of  Gallicia  at  Church,"  etc. 

Rogers,  Randolph.  (Am.)  Born  in  the  State  of  New  York,  about 
1825.  Brought  up  to  mercantile  pursuits,  but  turned  his  attention  to 
sculpture  at  an  early  age,  going  to  Italy  for  the  purpose  of  study,  and 
remaining  for  some  time  in  Rome.  Returning  to  America,  he  opened 
a  studio  in  New  York.  Among  his  earlier  works  are,  "  Nydia,"  "  Boy 
and  Dog,"  and  statue  of  John  Adams  at  Mount  Auburn,  Mass.  In 
1858  he  designed  the  doors  of  the  Capitol  at  Washington,  representing 
the  chief  events  in  the  career  of  Columbus,  which  were  cast  in  bronze 
at  Munich.  He  finished  the  Washington  Monument  at  Richmond, 
Va.,  which  was  left  uncompleted  by  Crawford  at  his  death,  adding  the 
statues  of  Mason,  Marshall,  and  Nelson,  and  many  of  the  allegorical 
figures  for  which  Crawford  made  no  designs.  Since  the  Civil  War 
he  has  executed  the  Memorial  Monument  erected  at  Providence,  R.  I., 
in  1871,  and  that  in  Detroit,  Mich.,  unveiled  in  1873.  His  statue  of 
Lincoln,  in  Philadelphia,  was  completed  in  1871  ;  that  of  Seward,  in 
New  York,  in  1876.  His  "Angel  of  the  Resurrection,"  on  the  monu- 
ment of  Colonel  Colt  in  Hartford,  Ct.,  is  one  of  the  most  satisfactory 
of  his  works.    Among  his  ideal  heads  those  of  "  Isaac  "  and  "  Ruth  " 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  219 


have  been  greatly  admired.  To  the  Centennial  Exhibition  of  1876 
he  sent  "  Atala,"  "  Kuth,"  and  "  Nydia,  the  Blind  Girl  of  Pompeii " 
(the  last  two  belonging  to  James  Douglas).  His  colossal  figure  of  the 
"  Genius  of  Connecticut  "  was  placed  on  the  new  Capitol  at  Hartford 
in  1877.  His  studio  is  still  in  Rome  ;  his  professional  commissions 
bring  him  occasionally  to  his  native  country. 

"  Rogers  was  commissioned  to  create  doors  for  the  Capitol  at  Washington.  In  the 
light  of  symbolic  portals  to  a  Temple  of  Freedom,  the  idea  partakes  of  the  sublime  ; 
but  the  American  is  too  impatient  for  original  inspiration,  and  has  no  adequate  concep- 
tion of  his  opportunity  for  noble  work.  Borrowing  his  general  ideas  from  Ghiberti,  he 
hurriedly  elaborates  a  prosaic  historical  composition  of  the  '  Discovery  of  America  by 
Columbus,'  clever  and  interesting  as  illustration,  but  far  beneath  the  requirements  of 
creative  art  or  the  dignity  of  the  occasion."  —  Jakves,  Art  Idea. 

"  The  statue  representing  '  Michigan  '  is  a  warlike  figure,  moving  forward,  with  shield 
aloft,  and  sword  drawn  back  for  the  thrust.  In  the  girdle  which  binds  the  coat  of  mail 
appears  the  Indian  tomahawk,  and  in  the  hair  the  Indian  ornaments  of  shells  and 
feathers,  indicating  the  youth  of  the  State,  whose  lands  within  the  memory  of  living 
men  were  the  home  of  the  savage.  There  is  nothing  else,  however,  savage  in  the  repre- 
sentation, which  is  full  of  grace  and  life."  —  Tuckerman's  Book  of  the  Artists. 

"The  Seward  statue  [Madison  Square,  New  York],  although  open  to  criticism  in  a 
few  details,  is,  as  a  whole,  an  excellent  piece  of  work,  worthy  of  its  conspicuous  position 
in  one  of  the  great  centers  of  the  metropolis."  —  Art  Journal,  September,  1877. 

Rogers,  John,  N.  A.  (Am.)  Born  at  Salem,  Mass.  As  a  young 
man  he  studied  civil  engineering,  but  was  compelled  to  abandon  that 
profession  on  account  of  the  weakness  of  his  eyes.  He  entered  a 
machine-shop  in  Manchester,  N.  H.,  where  he  remained  for  eight 
years,  modeling  in  clay  during  his  leisure  moments.  He  visited 
Europe  in  1858,  but  soon  returned  to  America,  and  in  1859  executed 
the  first  of  his  small  plaster  groups,  called  "  The  Slave  Auction." 
Quickly  following  this  were  "  The  Picket-Guard,"  "  Taking  the 
Oath,"  "TheWoundfed  Scout,"  "One  More  Shot,"  and  other  war 
subjects,  which  met  with  a  degree  of  popular  success  never  equaled 
in  its  way  in  America.  He  was  elected  a  full  member  of  the  National 
Academy  in  1863.  In  1869  he  sent  to  the  National  Academy,  "  The 
Fugitive's  Story";  in  1870,  "The  Foundling";  in  1874,  "Hide  and 
Seek";  in  1877,  "The  Mock  Trial "  and  "School  Days."  To  the 
Paris  Exposition  of  1867  he  sent,  in  bronze,  "  One  More  Shot," 
"  Taking  the  Oath,"  and  "  The  Wounded  Scout,"  and  twenty-nine 
groups  to  the  American  Centennial  Exhibition  of  1876,  for  which 
he  was  commended  by  the  judges  "  for  excellence  in  the  fine  art  of 
sculpture." 

"  We  now  come  to  a  high  order  of  ability  ;  indeed,  we  may  call  it  genius,  in  its  pe- 
culiar province,  as  original  as  it  is  varied  and  graphic,  pure  in  sentiment,  clever  in  exe- 
cution, and  thoroughly  American,  in  the  best  sense  of  the  word,  in  everything  

We  know  of  no  sculptor  like  John  Kogers  of  New  York  in  the  Old  World,  and  he 
stands  alone  in  his  chosen  field,  heretofore  in  all  ages  appropriated  by  painting  ;  a  genu- 
ine production  of  our  soil,  enlivening  the  fancy,  enkindling  patriotism,  and  warming 
the  affections  by  his  lovely,  well-balanced  groups  in  plaster  and  bronze.  Although  dis- 
criminative, they  possess  real  elements  of  greatness.    In  their  execution  there  is  no 


220     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


littleness,  artifice;  or  affectation.  The  handling  is  masterly,  betraying  a  knowledge  of 
design  and  anatomy  not  common,  and  a  thoroughness  of  work  refreshing  to  note. " — 
Jarves,  Art  Idea. 

Rogers,  Frank  Whiting.  (Am.)  Born  at  Cambridge,  Mass.,  1854. 
He  became  a  pupil  of  J.  Foxcroft  Cole  in  1873,  and,  later,  was  in  the 
studio  of  Thomas  Robinson  of  Boston.  His  specialty  is  animal-paint- 
ing. Among  the  better  known  of  his  pictures  are,  "  The  Two  Friends  " 
(belonging  to  William  F.  Morgan  of  New  York),  "  Resignation  "  and 
"  Steady  !  "  (belonging  to  Thomas  Wigglesworth  of  Boston),  "  Mis- 
chief" (belonging  to  S.  L.  Brackett,  Boston),  and  "Loo/'  a  portrait 
of  a  dog,  in  possession  of  Charles  Turner  of  St.  Louis.  He  exhibits 
in  Boston  and  New  York. 

"  Mr.  Rogers  has  had  from  the  first  a  good  measure  of  success  with  his  paintings  of 
dogs.  He  seems  to  have  talent  in  plenty  for  this  work,  and  to  make  the  best  use  of  it. 
His  painting  of  a  setter  which  was  hung  at  the  last  Art  Club  Exhibition  was  much  ad- 
mired and  judiciously  praised,  for  it  appeared  to  be  somewhat  of  a  surprise  to  the 

public  from  so  young  an  artist  There  are  not  many  dog-painters  in  this  country, 

and  there  are  none  known  to  us  in  Boston,  who  devote  themselves  as  Mr.  Rogers  does 
to  this  subject.  He  attempts  a  great  deal,  and  succeeds  better  than  any  one  would 
reasonably  expect  of  him.  "  —  Boston  Advertiser. 

Rolfe,  H.  L.  (Brit.)  A  well-known  fish-painter,  of  the  English 
school,  exhibiting  frequently  for  many  years,  in  London  and  the  Prov- 
inces, works  in  his  peculiar  line,  which  are  very  popular.  He  sent  to 
the  gallery  of  the  Society  of  British  Artists  in  1877,  "  On  a  Visit  to 
the  Upper  Proprietors";  in  1878,  "The  Last  Struggle." 

"  'Perch,  Roach,  and  Dace'  [by  H.  L.  Rolfe,  R.  A.,  1873]  exhibits  really  the  perfec- 
tion of  fish-painting.  Indeed,  this  artist  paints  river  fish  as  they  never  before  appeared 
on  canvas, — an  enviable  immortality,  which  must  certainly  reconcile  them  to  the 
hook  !  "  —  Art  Journal,  June,  1873. 

Roll,  Alfred-Philippe.  (Fr.)  Born  at  Paris.  Medals  in  1875  and 
'77.  Pupil  of  Gerome  and  Bonnat.  At  the  Salon  of  1877  he  ex- 
hibited "  The  Inundation  in  the  Suburbs  of  Toulouse  in  June,  1875  "; 
in  1876,  "The  Huntress"  and  a  portrait  ;  in  1875,  "  Halte-la  ! "  ;  in 
1873,  "A  Bacchante";  in  1872,  "  A  Wounded  Fugitive";  in  1870, 
"  The  Environs  of  Baccarat"  and  "  Evening." 

"  His  inundated  ones  are  not  models.  They  do  not  pose  themselves,  nor  regard  they 
the  public.  They  live,  each  one  his  own  life,  all  brought  into  the  powerful  unity  of 
action.  The  groups  are  well  arranged,  the  faces  varied  ;  all  are  understood.  The  action 
is  just ;  the  nude  is  well  treated,  well  modeled  ;  and  the  anatomy  observed.  That  of  the 
boy  who  holds  his  mother,  half  fallen  over,  by  the  middle  of  the  body,  is  a  bit  of  master- 
work.  The  water  is  muddy, — it  surges.  The  values  are  exact,  the  color  vigorous, 
the  perspective  vast.  Roll,  in  fine,  copies  not  nature  photographically,  in  the  fashion 
of  the  skillful  ones  of  to-day,  corrupting  the  public,  and  corrupted  by  it.  He  interprets 
nature,  and  grandly,  because  his  art  is  grand.  The  place  we  gave  him  a  year  ago  among 
the  debutants  he  has  kept.  It  is  the  first. "  —  Mario  Proth,  Voyage  au  Pays  des  Peintres, 
1877. 

Romanelli,  P.  (Ital.)  Professor  at  Florence.  Pupil  of  Bartolini. 
Among  his  principal  works  are,  "  Monumental  Statue  of  Count  Fos- 
sombroni,"  "  A  Boy  Bacchus  treading  the  Grapes,"  "  The  Betrayed," 
*  William  TeU's  Son  "  (executed  in  marble  for  Mi'.  Vanderbilt  of  New 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  221 


York),  a  fine  portrait  bust  of  Bartolini,  "The  Genius  of  Italy,"  "The 
Nymph  of  the  Arno,"  etc.  To  the  Paris  Exposition  of  1878  he  con- 
tributed a  statue  in  marble,  "  The  Rose  of  Sharon." 

Romberg,  Arthur  Georg.  (Ger.)  Born  at  Vienna  (1819  -  1875). 
Professor  of  Painting  at  Munich.  Member  of  the  Academy  of  Berlin. 
Studied  at  the  Academy  of  Dresden  and  under  Hiibner.  Went  to 
Munich  in  1850,  where  he  soon  became  distinguished  as  a  genre 
painter.  His  drawing  is  correct,  and  his  personages  all  have  marked 
characteristics.  He  usually  combines  some  mirth  with  his  represen- 
tations. Among  his  pictures  are,  "  Peasant-Women  of  Dachau  on 
Sunday,"  "The  Bouquet,"  "The  Walk  with  the  Hofmeister," 
"  Hiding,"  and  "After  the  Masked  Ball."  In  1860  he  went  to  Wei- 
mar, and  there  executed  his  "  History  of  Civilization  "  for  the  Maxi- 
milianeum  at  Munich.  His  designs  for  the  Schiller  and  Goethe 
Galleries  added  to  his  fame.  In  connection  with  Pauwels  he  exe- 
cuted frescos  at  the  Wartburg  in  the  part  where  Luther  had  lived. 
In  1865  he  removed  to  Munich,  where,  in  1870,  he  exhibited  "Fred- 
erick II.  holding  Court  in  Palermo." 

Ronner,  Mme.  Henriette.  {Dutch.)  Born  at  Amsterdam. 
Member  of  the  Academy  of  Rotterdam.  She  has  resided  more  than 
twenty  years  in  Brussels,  and  has  gained  many  medals  in  her  own 
country  and  in  others.  She  paints  principally  subjects  in  which 
domestic  animals  are  introduced.  At  the  Glasgow  Fine  Art  Loan 
Exhibition  in  1878  was  her  "  Boy  and  Dog,"  loaned  by  J.  Stevenson. 
"  Exterior  of  a  house.  The  door  is  open,  but  guarded  by  a  big,  surly 
red  and  white  dog.  A  boy  in  a  blue  overall,  and  with  a  basket  on 
his  arm,  hesitates  to  enter  from  fear  of  the  dog." 

Ronot,  Charles.    (Fr.)    Born  at  Belan-sur-Ource.    Pupil  of  A. 
Glaize.  •  Medals  in  1876  and  '78,  when  he  exhibited  "  The  Charities 
of  St.  Elizabeth  of  Hungary  " ;  in  1877,  "  The  Anger  of  the  Pharisees 
in  1876,  "  The  Workmen  of  the  Last  Hour." 

Roqueplan,  Joseph-Etienne-Camille.  (Fr.)  Born  at  Malemort 
(1802  -  1855).  Officer  of  the  Legion  of  Honor.  Pupil  of  Gros  and 
of  Abel  de  Pujol.  This  artist  belonged  to  the  romantic  school.  His 
pictures  are  landscapes  and  genre  subjects.  He  also  painted  battle- 
pieces  for  the  Gallery  at  Versailles,  and  decorated  several  ceilings  for 
the  palace  of  the  Luxembourg. 

Rosales,  Eduardo.  (Span.)  Died  at  Rome,  1873.  Chevalier  of 
the  Legion  of  Honor.  Corresponding  Member  of  the  Institute.  Di- 
rector of  the  Spanish  Academie  des  Beaux-Arts.  The  picture  of 
"  Isabella  the  Catholic  dictating  her  Will "  was  the  most  important 
Spanish  picture  at  the  Paris  Exposition  of  1867.  After  the  death  of 
Rosales,  "  The  Death  of  Lucretia,"  another  grand  work,  was  exhibited 
\  a  Paris.    Larousse  says  of  this  :  — 

"  In  a  subject  so  often  repeated,  and  which  may  be  well  made  emphatic  and  melodra- 
matic, the  Spanish  artist  has  understood  how  to  be  original  and  simple,  to  unite  the 


222     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


nobility  and  pathos  of  tragedy  with  the  gravity  of  history  ;  his  figures  have  an  antique 
character  inspired  by  study  of  celebrated  masters,  and  the  costumes  are  arranged  with 
science  and  taste.  A  rich  and  vigorous  color  adds  to  the  merits  of  this  work  ;  the  light, 
largely  concentrated  on  one  arm  of  Lucretia,  and  on  the  face  of  the  old  Lucretius,  has 
great  brilliancy,  and  makes  a  somewhat  violent  contrast  with  the  shadows  in  the 
work." 

Rosen,  George,  Count  von.  (Swede.)  Professor  of  the  Royal 
Academy  of  Stockholm.  At  Philadelphia  he  exhibited  "  A  Portrait " 
and  received  a  medal.  To  the  Paris  Exposition  of  1878  he  contrib- 
uted "  The  Flower- Market  "  and  a  portrait  of  a  painter. 

Rosenthal,  Toby  E.  (Am.)  Born  in  Hessen,  Germany,  and 
taken  to  America  as  an  infant.  He  began  the  study  of  art  in  the 
public  schools  of  San  Francisco,  taking  lessons  there  also  from  a  Span- 
ish painter,  under  whom  he  made  rapid  progress.  At  the  age  of  seven- 
teen he  went  to  Munich,  and  entered  the  Royal  Academy,  remaining 
two  years  in  that  institution,  and  spending  three  years  longer  in  Mu- 
nich as  a  private  pupil  of  Professor  Raupp.  Again  entering  the  Acad- 
emy, he  remained  about  seven  years  under  Piloty,  painting,  during  that 
time,  "  Morning  Prayers  in  the  Family  of  Bach  "  (purchased  by  the  city 
of  Leipsic,  and  now  in  the  museum  there).  Among  his  works  may  be 
mentioned,  "  Elaine  "  (at  the  Philadelphia  Exhibition  in  1876),  "  Love's 
Last  Offering,"  and  a  study  of  the  head  of  Mrs.  Greatorex,  painted 
in  Munich  in  1871,  and  exhibited  at  the  National  Academy  in  New 
York  in  1875.  Very  few  of  his  works  have  been  exhibited  in  America. 

"Toby  Rosenthal's  'Elaine'  in  illustration  of  Tennyson's  lines,  'And  the  dead,  steered 
by  the  dumb,  went  upward  with  the  flood,'  attracted  great  attention  in  Boston  when  it 
was  recently  exhibited  there.  The  critics  all  concede  that  the  picture  is  well  painted, 
and  embodies  great  dramatic  force,  but  the  wisdom  of  choosing  so  sad  a  subject  is 
doubtful."  —  Art  Journal,  April,  1875. 

"  Mr.  Rosenthal's  picture  of  the  '  Young  Monk '  in  the  refectory  of  a  convent  was  one 
of  the  most  poetic  in  sentiment  to  be  found  in  the  whole  Exhibition.  It  is  pure  and  deli- 
cate in  feeling,  and  skillfully  painted. "  —  Prof.  Weir's  Official  Report  of  the  American 
Centennial  Exhibition  of  1876. 

Rosier,  Amede'e.    (Fr.)    Born  at  Meaux.     Medal  at  Paris  in 

1876,  and  at  Philadelphia  the  same  year.  Pupil  of  Cogniet  and  Du- 
rand-Brager.  At  Philadelphia  he  exhibited  "  Evening  in  the  Harbor 
of  Venice"  and  "  Morning  on  the  Lagoons  of  Venice"  ;  at  Paris,  in 

1877,  "  On  the  Lagoons  of  Venice,  —  Setting  Sun  "  and  "  The  Canal 
of  St.  Mark's,  Venice."  "  A  Landscape  "  by  this  artist  is  in  the  collec- 
tion of  Mrs.  H.  E.  Maynard  of  Boston.  To  the  Salon  of  1878  he  sent 
two  Venetian  views. 

Ross,  Sir  William,  R.  A.  (Brit.)  (1794-1860.)  Displayed  re- 
markable talents  as  a  child,  painting  portraits  before  he  reached  his 
teens,  and  winning  many  valuable  medals  and  prizes  for  his  work  in 
London  and  the  Provinces,  while  still  a  lad.  He  entered  the  Royal 
Academy  in  1805,  when  only  ten  years  of  age,  exhibiting  regularly  at  its 
gallery  after  that  period  for  many  years.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1838,  and  Academician  in  1839.  He  executed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  223 


several  important  figure-pieces  of  a  scriptural  and  historical  charac- 
ter, but  his  specialty  was  portraiture  in  miniature,  in  which  branch  of 
art  he  was  wonderfully  successful,  no  artist  of  the  English  school  of 
any  century  ranking  higher.  He  numbered  among  his  sitters  the 
Queen  and  Prince  Consort  of  England,  with  many  members  of  Eng- 
lish royal  and  aristocratic  families,  Louis  Philippe,  Louis  Napoleon, 
Leopold  of  Belgium  and  his  family,  etc.  He  was  knighted  by  Queen 
Victoria  in  1839. 

Ross,  Robert  Thorburn.  (Brit.)  Born  in  Edinburgh,  1816. 
Student  of  the  Trustees  Academy  for  three  years,  when  he  opened  a 
studio  in  Glasgow,  painting  portraits  for  some  time.  In  1842  he  went 
to  Bewick,  remaining  for  ten  years,  and  for  the  first  time  turning  his 
attention  to  ideal  subjects,  contributing  to  the  Royal  Scottish  Acad- 
emy, in  1845,  "  The  Spinning- Wheel."  In  1852,  when  he  was  elected 
an  Associate  of  that  Academy,  he  removed  to  Edinburgh.  He  was 
made  an  Academician  in  1869.  Among  his  works,  many  of  which 
have  been  engraved,  are,  "  The  Dead  Robin,"  "  The  Mote  in  the  Eye," 
"  Hide  and  Seek,"  "  The  Thorn  in  the  Foot,"  "  The  Dancing-Lesson," 
"  The  Broken  Pitcher,"  "  Leaving  Home,"  "  Highland  Pets,"  "Asleep," 
and  "  The  Highland  Shepherd's  Fireside."    [Died,  1876.] 

"  This  artist  [Ross]  has  evidently  studied  Scottish  life  in  the  cottage,  on  the  sea-coast, 
and  by  the  river-side.  His  pictures  are  all  of  this  class  of  subject,  which  he  renders 
with  fidelity,  and  under  most  attractive  aspects.  He  is  an  excellent  colorist,  and  shows 
true  feeling  for  the  picturesque,  both  in  his  figures  and  their  surroundings,  whether  in 
or  out  of  doors."  —  Art  Journal,  1871. 

Ross,  Alfred.  (Fr.)  Born  at  Tillieres-sur-Arve.  Pupil  of  Jouf- 
froy.  Exhibited  at  Philadelphia  a  statue  (in  bronze)  of  "  A  Bohemian 
at  the  Spring,"  and  received  a  medal. 

Rosseels,  Jacques.  (Belgian.)  Of  Antwerp.  Medal  at  Philadel- 
phia, where  he  exhibited  "A  Mill  on  the  Scheldt." 

Rossetti,  Gabriel  Charles  Dante.  (Brit)  Born  in  1828.  Edu- 
cated at  King's  College,  London,  contributing  illustrations  as  a  young 
man  for  a  fine  edition  of  Tennyson's  poems.  His  "  Girlhood  of  the 
Virgin,"  exhibited  in  London  in  1849,  first  attracted  attention  to  him 
as  an  artist  in  colors  ;  it  appeared  simultaneously  with  Millais'  "  Isa- 
bella "  and  Holman  Hunt's  "  Rienzi,"  and  introduced  with  them  what 
is  known  as  the  pre-Raphaelite  school  to  England.  To  the  Liverpool 
Academy,  in  1856,  he  sent  three  pictures  in  water-color,  "  The  Wed- 
ding of  St.  George,"  "  Dante's  Dream  on  the  Death  of  Beatrice,"  and 
"A  Christmas  Carol."  To  the  Royal  Scottish  Academy,  in  1860,  he 
contributed  "  Fair  Rosamond."  Of  late  years  his  pictures  have  not 
been  shown  to  the  public.  He  is  better  known  as  a  writer  than  as  an 
artist.  His  "  Early  Italian  Poets,"  translations  from  Dante  and  others, 
was  published  in  London  in  1861  ;  a  revised  edition,  called  "  Dante 
and  his  Circle,"  appearing  in  1874.  He  also  gave  to  the  world  a  vol- 
ume of  original  "  Poems  "  in  1870.    [Died  in  1882.] 


224     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"As  a  figure-painter  his  drawings,  such  as  I  have  seen,  are  far  above  the  strictly  real- 
istic work  produced  by  acolytes  of  his  order  ....  Rossetti,  a  man  of  genius,  has  lighted 
his  canvas  and  his  pages  with  a  quality  that  is  ennobling."  —  Stedman  s  Victorian 
Poets. 

"  D.  G.  Rossetti  was  the  founder  and  for  some  years  the  vital  force  of  the  pre-Raphael- 
ite  school.  He  was  the  first  assertor  in  painting,  as  I  believe  I  was  myself  in  art  liter- 
ature (Goldsmith  and  Moliere  having  given  the  first  general  statements  of  it),  of  the  great 
distinctive  principle  of  that  school  that  things  should  be  painted  as  they  probably  did 
look  and  happen,  and  not  as  by  rules  of  art  developed  under  Raphael,  Correggio,  and  Mi- 
chael Angelo  they  might  be  supposed  gracefully,  deliciously,  or  sublimely  to  have  hap- 
pened." —  Ruskin's  Notes  of  the  Academy,  1875. 

"  There  are  few  more  intense  and  perfect  poems  in  the  English  tongue  than  the  '  Blessed 
Damozel,'  by  Dante  Gabriel  Rossetti,  and  there  must  be  thousands  of  persons  who  feel 
something  more  than  mere  curiosity  to  see  the  picture,  founded  on  the  poem  and  bear- 
ing its  name,  painted  by  the  poet  himself  for  Mr.  William  Graham.  An  opportunity  to 
do  so  is  not,  however,  likely  to  occur,  at  least  for  some  years  ;  and  all  but  a  favored  few 
must  be  content  to  know  it  by  inadequate  verbal  description.  The  damozel  is  leaning 
*  from  the  gold  bar  of  heaven,'  surrounded  by  groups  of  happy  reunited  lovers.  Below  is  a 
predella  just  added  by  the  artist ;  the  bereaved  lover  stands  amid  the  fall  of  leaves  with 
his  eyes  fixed  on  heaven.  The  cerulean,  rose,  and  delicate  green  tints  of  the  upper  can- 
vas are  brought  out  into  beautiful  contrast  by  the  autumnal  tints  and  the  black  grays 
of  the  predella.  Mr.  Rossetti  has  more  than  one  new  work  in  hand."  —  Magazine  of  Art, 
June,  1878. 

Rossiter,  Thomas  P.,  N.  A.  (Am.)  Born  at  New  Haven,  Ct. 
(1818-1871).  He  studied  in  his  native  city,  and  in  1838  began  the 
practice  of  his  profession  there  as  a  portrait-painter.  In  1840  he  vis- 
ited Europe,  studying  in  London  for  six  months,  and  in  Paris  for  a 
year.  In  1841  he  settled  in  Rome,  remaining  five  years,  spending  his 
summers  in  sketching-tours  in  Germany,  Switzerland,  and  Italy.  In 
1846  he  opened  a  studio  in  New  York,  painting  an  occasional  portrait, 
but  devoting  himself  chiefly  to  the  illustration  of  scriptural  and  his- 
torical subjects.  In  1853  he  returned  to  Europe,  remaining  in  Paris 
until  1856.  Spending  a  few  years  in  New  York,  he  removed  in  1860 
to  Cold  Spring,  on  the  Hudson.  He  was  elected  an  Associate  of  the 
National  Academy  in  1840,  and  Academician  in  1849.  Among  his 
works,  some  of  which  have  been  engraved,  are,  "  The  Last  Hours  of 
Tasso,"  "  Puritans  reading  the  Bible,"  "  Miriam,"  "  The  Ascension," 
"  Return  of  the  Dove  to  the  Ark,"  "  The  Wise  and  Foolish  Virgins," 
"Noah,"  "Italy  in  the  Olden  Times,"  "Home  of  Washington," 
"  Washington  in  his  Library,"  "  Washington's  First  Cabinet,"  "  Prince 
of  Wales  at  the  Tomb  of  Washington,"  "  Palmy  Days  at  Mount  Ver- 
non," "  Representative  Merchants,"  etc. 

Rossiter,  Charles.  (Brit.)  Born  in  1827.  A  pupil  of  Mr.  Leigh's 
school,  in  Newman  street,  London,  he  did  not  turn  his  attention  to 
art  as  a  profession  until  about  1850,  making  his  specialty  small  genre 
pictures.  For  a  quarter  of  a  century  he  has  exhibited  at  the  Royal 
Academy  and  the  Gallery  of  the  Society  of  British  Artists.  Among 
his  earlier  works,  which  were  very  popular  with  all  classes  of  people, 
were,  "  The  Song  of  the  Shirt,"  "  The  Protector,"  "  Puritan  Purifiers," 
w  The  Return  of  Olivia,"  etc.    He  sent  to  the  Royal  Academy,  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  225 


1866,  "The  First  Lesson  "  ;  in  1867,  "The  Little  Singer"  ;  in  1868, 
"  II  Penseroso  "  ;  in  1870,  "  A  Gleam  of  Hope  "  ;  in  1871,  "  Memories 
of  the  Past "  ;  in  1872,  "  The  Necklace  "  j  in  1875,  "  Kival  Anglers  "  ; 
and  in  1877,  "  Rough  Weather." 

Rossiter,  Mrs.  Charles,  wife  of  the  foregoing,  exhibited  for  some 
years  attractive  pictures  of  birds  at  the  Royal  Academy,  but  her  name 
has  not  been  seen  in  its  catalogues  since  1 873. 

Roth,  Christian.  (Ger.)  Professor  at  Munich.  This  sculptor  has 
studied  anatomy  with  great  thoroughness,  and  he  has  done  much  to 
enable  the  students  of  sculpture  about  him  to  pursue  this  necessary 
branch.  Among  his  works  are  a  fountain  at  Munich  representing  a 
"  Faun  with  the  Mask  of  Jupiter."  His  "  Kampf  um  das  Friihstuck  " 
(now  belonging  to  Duke  Charles  Theodore  of  Bavaria)  gained  a  prize. 
It  represents  a  boy  and  goose  struggling  over  a  piece  of  bread.  Roth's 
best  works  are  those  above  the  genre  subjects.  His  perfect  knowledge 
of  the  human  form  should  be  employed  in  monumental  sculpture. 
His  "  Wacht  am  Rhein  "  is  a  work  of  strength,  but  not  of  high  art. 
His  colossal  bust  of  the  late  Prince  Charles  of  Bavaria,  for  the  park 
of  the  castle  of  Tergernsee,  is  without  doubt  his  master- work  in  por- 
traiture, and  perhaps  the  verdict  of  years  will  make  his  portrait  bus*s 
his  chefs-d'oeuvre. 

Rothermel,  Peter  F.  (Am.)  Born  in  the  State  of  Pennsylvania 
in  1817.  He  was  brought  up  as  a  surveyor,  and  did  not  devote  him- 
self to  the  study  of  art  until  he  was  twenty -one  years  of  age.  In  1840 
he  began  the  active  practice  of  his  profession  by  the  painting  of  por- 
traits. In  1856  he  went  to  Europe,  spending  some  time  in  the  art 
centers  of  the  Continent,  painting  his  first  historical  picture,  and 
later  making  that  class  of  subjects  a  specialty.  Among  the  better 
known  of  his  works  are  "  St.  Agnes  "  (painted  in  1858,  and  now  in 
Russia),  "  The  Foscari,"  "  Patrick  Henry  before  the  Virginia  House 
of  Burgesses,"  "Cromwell  breaking  up  the  Service  in  an  English 
Church,"  "  Columbus  before  Isabella,"  "  De  Soto  discovering  the 
Mississippi,"  "  St.  Paul  on  Mars  Hill,"  "  The  Battle  of  Gettysburg  " 
(in  the  Capitol  at  Harrisburg,  Pa.), "  Christian  Martyrs  in  the  Coliseum," 
and  others,  many  of  which  have  been  engraved.  To  the  Centennial 
Exhibition  at  Philadelphia,  in  1876,  he  sent  "The  Battle  of  Gettys- 
burg," "  Amy  Robsart  interceding  for  Leicester,"  "  The  Trial  of  Sir 
Henry  Vane  "  (belonging  to  J.  L.  Claghorn),  "  Macbeth  meditating  the 
Murder  of  Duncan  "  (belonging  to  Thomas  Dolan),  "  Hypatia  stripped 
and  torn  to  Pieces  by  the  Christian  Mob  of  Alexandria,"  "  The 
Landsknecht"  (belonging  to  Matthew  Baird),  and  "The  Christian 
Martyrs."    He  was  "  commended  for  excellence  in  historical  painting." 

"  With  unequal  power,  but  frequent  fidelity  to  the  conventional  requirements  of  his 
historical  painting,  Rothermel's  career,  in  view  of  the  department  he  illustrates,  has 
been  remarkably  prosperous.   The  pictures  he  has  exhibited  abroad  have  gained  him 
Honorable  mention,  though  confessedly  unfinished. "  —  Tuckerman's  Book  of  the  Artists. 
10*  o 


226     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Rousseau,  Philippe.  (Fr.)  Born  at  Paris  about  1808.  Officer 
of  the  Legion  of  Honor.  Pupil  of  Gros  and  Victor  Bertin.  At  first 
Rousseau  painted  landscapes,  and  made  his  debut  in  1831.  Since  his 
earlier  works  he  has  painted  numerous  subjects  which  may  be  termed 
animal  genre.  They  are  very  much  admired.  "The  Importunate" 
(1850),  "  Storks  taking  a  Siesta,"  and  "  A  Kid  feeding  on  Flowers  " 
(1855)  are  in  the  Luxembourg.  In  1866,  "The  Monkey  Photograph  " 
and  "  Flowers,"  remarkable  works,  were  purchased  by  the  Princess 
Mathilde.  In  1877  he  exhibited  "  The  Breakfast "  and  "  O  ma  tendre 
musette!";  in  1876,  "Oysters"  and  "Poppies";  in  1875,  "The 
Wolf  and  the  Lamb"  and  "Cheeses  ";  in  1874,  "La  Fete-Dieu"  and 
"The  Salad";  in  1872,  "The  Sweetmeats"  and  "Springtime";  in 
1870,  "  The  Flowery  Fountain"  and  "  The  First  Plums  and  the  Last 
Cherries,"  etc. 

"M.  Philippe  Rousseau  is  not  only  a  man  of  genius,  he  is  also,  unfortunately,  a 
seeker  of  genius.  Curiosity  and  surprise  make  a  portion  of  the  interest  which  his 
works  inspire.  One  sometimes  studies  them  as  the  subscribers  to  L 'Illustration ' 
meditate  upon  the  rebus.   Animals  are  wise  little  personages  to  Rousseau  ;  each  of  his 

frames  resembles  an  outlandish  theater  in  which  the  beasts  play  a  comedy  I 

recognize  with  the  public  the  originality  and  the  attraction  of  his  works,  but  I  am  not 
able  to  approve  of  all  the  talent  which  he  expends  in  order  to  lower  painting  to  the  level 
of  the  vignette."  —  Edmond  About,  Nos  Artistes  au  Salon  de  1857. 

Rousseau,  Theodore.  (Fr.)  Born  at  Paris  (1812  -  1867). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Guillon-Lethiere.  A 
landscape-painter.  Made  his  debut  in  1834.  In  1867  he  exhibited 
"  A  View  of  Mont  Blanc  "  and  "  The  Interior  of  a  Forest  "  ;  in  1866, 
"  Sunset,  Forest  of  Fontainebleau,"  and  "  Boundaries  of  the  Forest  of 
Fontainebleau  at  Barbison";  in  1864,  "A  Village,  —  Cottages  under 
the  Trees  "  ;  in  1863,  "  A  Pool  beneath  some  Oaks  "  ;  etc.  At  the 
Hotel  Pereire  in  Paris  there  is  an  exquisite  landscape  by  Theodore 
Rousseau  which  was  purchased  at  the  Demidoff  sale  for  3,250  francs. 
At  the  Strousberg  sale,  Paris,  1874,  "  A  Fisherman  "  sold  for  £  832. 
At  the  Laurent-Richard  sale,  Paris,  1873,  "Watercourse  at  Sologne" 
sold  for  £  1,600  ;  "  Hoar-Frost,"  £  2,404. 

"This  artist,  in  truth,  has  varied  prodigiously,  and  his  work  sometimes  shows  us 
vivid  impressions  expressed  with  rare  happiness,  but  the  execution  will  not  bear  the  at- 
tentive examination  of  amateurs  who  seek  to  analyze  it  and  judge  it  in  detail ;  at  other 
times  he  executes  pictures  treated  with  scrupulous  care,  but  which  have  not  as  a  whole 
the  charm  and  the  unaffected  simplicity  which  artists  admire  in  the  first."  —  Rene  Me- 
nard, Gazette  des  Beaux- Arts,  March,  1873. 

"  Theodore  Rousseau  has  been  for  twenty-five  years  the  first  apostle  of  truth  in  land- 
scape. He  made  a  breach  in  the  wall  of  the  historic  school,  which  had  lost  the  habit  of 
regarding  nature,  and  servilely  copied  the  bad  copyists  of  Poussin.  This  audacious  inno- 
vator opened  an  enormous  door  by  which  many  others  have  followed  him.  He  emanci- 
pated the  landscape-painters  as  Moses  formerly  liberated  the  Hebrews,  '  in  exitu  Israel 
de  .<Egypto.'  He  led  them  into  a  land  of  promise,  where  the  trees  had  leaves,  where 
the  rivers  were  liquid,  where  the  men  and  the  animals  were  not  of  wood.  On  the  return 
of  this  truant  school  the  young  landscapists  forced  the  entrance  of  the  Salon,  and  it  was 
atill  Theodore  Rousseau  who  broke  down  the  door.  In  that  time  Rousseau  occupied 
the  first  rank  in  landscape,  above  all  as  a  colorist ;  but  neither  the  Institute  nor  tin 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  227 


public  wished  to  confess  it.  His  incontestable  talent  was  contested  by  all  the  world. 
It  is  only  to-day  that  his  reputation  is  made.  He  can  become  remiss  with  impunity 
without  its  being  seen,  etc."  —  Edmond  About,  Nos  Artistes  au  Salon  de  1857. 

Rowbotham,  Thomas  L.  (Brit.)  (1823-1875.)  Active  mem- 
ber of  the  Institute  of  Painters  in  Water-Colors,  painting  landscapes 
with  skill  and  taste.  His  works  were  pleasing  and  popular  ;  among 
them  may  be  mentioned,  "  The  Sacred  City  of  Benares  on  the  Gan- 
ges," "Mill  in  Surrey,"  "On  the  Thames,  — Evening,"  "A  Winter 
Sunset,"  "The  Imperieuse, —  Breaking  up  at  Woolwich  in  1867," 
"  Castellamare,  Bay  of  Naples,"  and  "  Sisteron,  South  of  France." 

Rowse,  Samuel  W.  (Am.)  A  native  of  the  State  of  Maine. 
Recently  this  artist  has  spent  some  time  in  New  York,  but  the 
greater  part  of  his  professional  life  has  been  passed  in  Boston.  He 
devotes  himself  particularly  to  drawing  in  black  and  white.  His 
work  is  seldom  publicly  exhibited,  although  he  has  been  for  some 
years  one  of  the  most  successful  of  American  artists.  Photographs 
of  his  lighter  works,  chiefly  ideal  pictures  of  children  in  crayon, 
have  been  very  common  throughout  the  United  States.  While 
in  the  sun  copies  justice  has  not  been  done  to  the  originals,  each 
one,  no  matter  how  slight  and  sketchy,  has  something  of  the  peculiar 
charm  of  manner  which  in  his  drawing  of  children  is  irresistible.  One 
well-known  connoisseur  writes  :  — 

"The  apparent  simplicity  and  real  subtlety  of  Rowse's  portraits  of  children  is  beyond 
analysis.  They  constantly  remind  one  of  Sir  Joshua  ;  but  Sir  Joshua  in  only  a  few  in- 
stances attained  such  completeness,  such  unity  in  purpose  and  in  execution,  as  is  shown 
by  Rowse.  Herein  his  work  possesses  a  quality  seldom  reached  in  modern  art,  —  that 
of  harmony.  Whatever  he  undertakes,  the  result  is  a  picture.  It  is  not  an  effort,  a  frag- 
ment, not  the  exhibition  of  some  school  or  method  ;  it  is  a  whole,  and  it  is  beautiful." 

While  Mr.  Rowse  has  had  few  pupils,  in  the  ordinary  sense  of  the 
term,  he  has  had  many  followers,  disciples,  and  imitators,  and  has 
had  a  decided  and  beneficial  influence  upon  his  peculiar  branch  of 
art.  Among  the  many  illustrious  men  whose  portraits  he  has  drawn 
in  crayon,  have  been  James  Russell  Lowell,  R.  W.  Emerson  (belong- 
ing to  Charles  E.  Norton),  and  Hawthorne  (the  property  of  James 
T.  Fields).  Recently  he  has  given  more  attention  to  painting  in  oil, 
and  devoted  the  year  1877  (in  New  York)  to  the  producing  of  por- 
traits in  that  medium.  His  "  Head  of  a  Child  "  (belonging  to  Morris 
K.  Jessup)  was  at  the  Loan  Exhibition  of  the  Society  of  Decorative 
Art  at  the  National  Academy  in  1877. 

"  Rowse  is  one  of  the  most  delicate  and  true  crayon  limners  in  this  country  ;  some  of 
his  heads  are  unsurpassed  for  fine  feeling  and  exquisite  drawing."  — Tuckerman's  Book 
of  the  Artists. 

"  '  Even  in  England,'  writes  Mrs.  Elizabeth  Murray  to  a  London  art  journal,  'there  are 
none  to  compare  with  Rowse  in  crayon  portraits,  for  refinement  and  beauty  in  idealiz- 
ing a  portrait,  while  the  likeness  is  wonderful  in  its  identity.'  " — Boston  Advertiser,  May 
23,  1868. 

Rubio,  Louis.  (Ital.)  Born  at  Rome  in  1797.  After  studying 
in  Italy  he  passed  some  time  at  Paris  under  Cogniet.    He  finally  set- 


228     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tied  in  Geneva.  He  gained  several  medals  at  Paris  and  Rome,  and 
was  made  member  of  the  Academy  of  St.  Luke.  His  works  are  seen 
occasionally  in  public  galleries. 

Rudder,  Louis-Henri  de.  (Fr.)  Born  at  Paris,  1807.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Gros  and  Charlet.  Many  of  his 
pictures  are  of  historical  and  religious  subjects.  At  the  Luxembourg 
is  "  Nicolas  Flamel,  an  Alchemist  of  the  Fifteenth  Century."  Rud- 
der painted  considerably  in  water-colors.  At  the  Salon  of  1878  he 
exhibited  "Ecce  Homo"  and  a  "View  on  the  Banks  of  the  Douet  at 
Benzeval  (Calvados)." 

Ruskin,  John.  (Brit)  Born  in  London,  1819.  He  graduated  at 
the  University  of  Oxford,  and  gained  the  Newdigate  Prize  for  Poetry 
in  1839.  Later,  he  studied  art  under  Fielding  and  J.  D.  Harding, 
attaining  no  ordinary  proficiency  as  a  draughtsman,  but  never  becoming 
a  professional  artist.  Ruskin  is  known,  however,  throughout  the 
English-speaking  world  as  an  art  critic,  and  a  brilliant  and  prolific,  as 
well  as  original,  writer  upon  art  subjects.  Not  always  temperate  in 
his  strictures  upon  existing  art  and  contemporary  artists,  he  has  fre- 
quently been  the  subject  of  severe  criticism  from  rival  critics  ;  but, 
unquestionably,  no  work  of  its  kind  has  been  more  widely  read  than 
Ruskin's  "  Modern  Painters,"  and  to  no  single  work  and  to  no  single 
author  does  the  world  of  art  owe  so  much.  An  ardent  and  enthu- 
siastic admirer  of  Turner,  Ruskin's  first  literary  effort  was  a  small 
pamphlet,  the  avowed  object  of  which  was  the  defence  of  that  artist. 
It  was  subsequently  enlarged,  and  was  published  in  1843  as  the  first 
volume  of  "  Modern  Painters:  by  a  Graduate  of  Oxford."  It  attracted 
much  attention  in  England.  The  second  volume,  to  which  the  au- 
thor's name  was  not  attached,  appeared  in  1846;  the  third  volume 
was  not  published  until  some  ten  years  later;  the  fourth,  and  perhaps 
the  aolest,  followed  more  quickly;  and  the  fifth  and  last  was  given  to 
the  public  in  1860.  During  the  irregular  and  desultory  appearance 
of  this  work  Mr.  Ruskin's  pen  was  by  no  means  idle.  He  published 
"  The  Seven  Lamps  of  Architecture,"  in  1849  ;  the  first  volume  of 
"The  Stones  of  Venice,"  in  1851;  "Lectures  on  Architecture  and 
Painting,"  in  1854;  "  Giotto  and  his  Works  in  Padua,"  in  1855;  "  Notes 
on  the  Turner  Collection,"  in  1859;  etc.  Besides  these,  he  is  the  au- 
thor of  many  other  volumes,  and  has  written  interesting  and  valuable 
"  Notes  on  the  Pictures  of  the  Royal  Academy,"  for  several  seasons 
(the  last  in  1875),  and  has  contributed  articles  to  the  London 
Times,  Art  Journal,  Quarterly  Review,  Cornhill  Magazine,  and 
other  periodicals.  In  1867  Mr.  Ruskin  was  appointed  Rede  Lec- 
turer at  Cambridge,  and  in  1869,  Slade  Professor  of  Fine  Arts  at 
Oxford.  In  1871  he  endowed  the  Taylor  Gallery  at  Oxford  with 
.£5,000  for  the  maintenance  of  a  Master  of  Drawing,  and  he  has 
generally  spent  the  greater  part  of  his  private  fortune  in  other 
schemes  for  art  education  and  the  public  good.    Mr.  Ruskin  has  fur- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  229 


nished  illustrations  for  "  The  Stones  of  Venice,"  and  for  the  later  vol- 
umes of  "  Modern  Painters."  His  original  drawings  are  rarely  seen 
by  the  public.  In  1878,  however,  was  exhibited  in  London  one  hun- 
dred and  twenty-six  drawings  by  Turner,  together  with  nearly  eighty 
sketches,  drawings,  and  photographs  executed  or  collected  by  Ruskin. 
Of  these  F.  R.  Conder  wrote,  in  the  October  number  of  the  Art 
Journal  of  that  year,  as  follows  :  — 

"The  collection  under  review  gives  a  rare  proof  of  the  possession  by  Ruskin  of  an 
indispensable  qualification  for  the  thorough  judge  of  art,  namely,  the  hand  to  create,  as 
well  as  the  eye  to  see.  It  may  not  be  true  that  none  but  a  painter  can  truly  be  a  judge 
of  painting.  It  may  even  be  urged  that  a  painter  is  not  the  most  reliable  judge  or  critic 
of  the  works  of  his  brothers  of  the  pencil.  But  we  think  that  it  must  be  admitted  that 
none  but  an  artist  in  some  field  or  branch  of  art  can  be  a  thorough  judge  of  art  in 
any  of  its  branches.  The  education  of  the  hand  is  needed  in  order  to  give  a  reflected 
power  and  accuracy  to  the  education  of  the  eye.  There  is  an  unfinished  pencil  sketch 
of  an  '  Outline  from  the  Fresco  of  the  Sacrifice  of  Job  in  the  Campo  Santo  of  Pisa,' 
from  the  hand  of  Mr.  Ruskin,  which  might  have  been  placed  without  discredit  in  the 
exquisite  collection  of  drawings  by  old  masters  exhibited  last  autumn  in  the  Grosvenor 
Gallery.  In  refined  delicacy  and  graceful  truth  of  touch,  combined  with  depth  and 
tender  sense  of  feeling,  it  almost  leads  us  to  echo  the  half-suppressed  sigh  of  the 
draughtsman,  '  Had  I  been  able  to  keep  myself  clear  of  literature  ! '  Some  of  the  archi- 
tectural sketches  give  a  feeling  of  Gothic  tracery  akin  to  that  which  must  have  been 
possessed  by  the  great  artists  of  our  cathedrals." 

If  the  world  is  not  familiar  with  the  work  of  Mr.  Ruskin's  pencil, 
the  work  of  his  pen  has  made  him  a  power  wherever  art  is  known. 
Of  his  "  Stones  of  Venice,"  Charlotte  Bronte  wrote  to  Mrs.  Gaskell 
in  1851  :  — 

" '  The  Stones  of  Venice '  seem  nobly  laid  and  chiseled.  How  grandly  the  quarry  of 
vast  marbles  is  disclosed !  Mr.  Ruskin  seems  to  me  one  of  the  few  genuine  writers, 
as  distinguished  from  book-makers,  of  this  age.  His  earnestness  even  amuses  me  in 
some  passages,  for  I  cannot  help  laughing  to  think  how  utilitarians  will  fume  and  fret 
over  his  deep,  serious  (and  as  they  will  think),  fanatical  reverence  for  art.  That  pure 
and  severe  mind  you  ascribe  to  him  speaks  in  every  line.  He  writes  like  a  consecrated 
priest  of  the  Abstract  and  Ideal." 

"  This  book  [  *  Modern  Painters '  ]  contains  more  true  philosophy,  more  information 
of  a  strictly  scientific  kind,  more  original  thought  and  exact  observation  of  nature, 
more  enlightened  and  serious  enthusiasm,  and  more  eloquent  writing  than  it  would  be 
easy  to  match,  not  merely  in  works  of  its  own  class,  but  in  those  of  any  class  whatever. 
It  gives  us  a  new,  and,  we  think,  the  only  true  theory  of  beauty  and  sublimity  ;  it  as- 
serts and  proves  the  existence  of  a  new  element  in  landscape-painting,  placing  its 
prince  upon  his  rightful  throne  ;  it  unfolds  and  illustrates,  with  singular  force,  variety, 
and  beauty,  the  laws  of  art ;  it  explains  and  enforces  the  true  nature  and  specific  func- 
tions of  the  imagination  with  the  precision  and  fullness  of  one  having  authority,  —  and 
all  this  is  delivered  in  language  which,  for  purity  and  strength  and  native  richness,  would 
not  have  dishonored  the  early  manhood  of  Jeremy  Taylor,  of  Edmund  Burke,  or  of  the 
author's  own  favorite  Richard  Hooker."  —  Dr.  John  Brown,  in  North  British  Review. 

"  There  is  one  man  among  us  who  has  done  more  to  breathe  the  breath  of  life  into  the 
literature  and  the  philosophy  of  art,  who  has  encouraged  it  ten  thousand  times  more 
effectually  than  all  our  industrious  Coles  and  anxious  Art  Unions,  and  that  is  the 
author  of 1  Modern  Painters.'  I  do  not  know  that  there  is  anything  in  our  literature,  or 
in  any  literature,  to  compare  with  the  effect  of  this  one  man's  writings.  He  has,  by  his 
sheer  force  of  mind  and  fervor  of  nature,  the  depth  and  exactness  of  his  knowledge,  and 


230     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  amazing  beauty  and  power  of  language,  raised  the  subject  of  art  from  being  subordi- 
nate and  technical,  to  the  same  level  with  poetry  and  philosophy.  He  has  lived  to  see 
an  entire  change  in  the  public  mind  and  eye,  and,  what  is  better,  in  the  public  heart, 
on  all  that  pertains  to  the  literature  and  philosophy  of  representative  genius.  He  com- 
bines its  body  and  its  soul.  Many  before  him  wrote  about  its  body,  and  some  well ;  a 
few,  as  Charles  Lamb  and  our  own  '  Titmarsh,'  touched  its  soul ;  it  was  left  to  John 
Ruskin  to  do  both."  —  Notes  on  Art  in  Horce  Subsecivce. 

"Unquestionably  one  of  the  most  remarkable  men  of  this  or  any  age  is  Mr. 
Ruskin.  He  is,  if  you  like,  not  seldom  dogmatic,  self-contradictory,  conceited,  arro- 
gant, absurd,  but  he  is  a  great  and  wonderful  writer,  he  has  created  a  new  literature, 
the  literature  of  art."  —  Fraser's  Magazine. 

"  Yet  in  his  book  [  *  Modern  Painters '  ]  there  was  a  bold  originality,  an  uncom- 
promising independence,  quite  startling  to  the  lovers  of  the  old  beaten  track,  the 
devotees  to  precedent.  The  daring  champion  of  Turner,  not  content  with  asserting  the 
painter's  claims  to  universal  admiration,  announced,  somewhat  authoritatively,  certain 
principles  of  art  neither  derived  from  Alison  or  the  Royal  Academy  Indefati- 
gable in  the  pursuit  of  that  branch  of  art,  which  in  all  his  loving  is  the  love,  Mr. 
Ruskin  has  lately  written  a  book  for  young  persons,  entitled  '  The  Elements  of  Drawing, 
in  Three  Letters  to  Beginners.'  He  always  writes  con  amore,  but  never  more  so  than 
in  this  valuable  little  treatise.  Mr.  Ruskin  is  not  only  a  practical  artist,  but  he  has  also 
had  much  experience  in  teaching,  being  employed  at  present  as  head-teacher  of  a  class 
in  drawing  in  the  Working-Men's  College,  45  Great  Ormond  street,  London."  —  Intro- 
duction to  Mrs.  Tuthill's  Beauties  of  Ruskin,  1865. 

"  A  man  has  arisen  among  them  [British  artists]  to  justify  and  elevate  their  practice 
into  theory,  namely,  John  Ruskin,  an  admirer  and  friend  of  Turner ;  an  earnest,  im- 
passioned, and  original  writer,  perfectly  competent,  very  studious,  very  popular,  and 
possessing  a  thoroughly  English  intellect.  Nothing  is  more  precious  than  personal,  in- 
dependent, and  well-ordered  impressions.  Especially  when,  like  his,  they  are  boldly 
expressed,  they  lead  us  to  reconsider  our  own.  There  is  no  one  to  whom  Ruskin's 
works,  such  as  '  Modern  Painters  '  and  '  The  Stones  of  Venice,'  fail  to  suggest  subjects 
for  thought.  His  first  principle  is  that  the  literal  truth  and  the  characteristic  detail 
must  be  loved  with  enthusiasm."  —  Taine's  Notes  on  England. 

Sain,  Edouard- Alexandre.  (Fr.)  Born  at  Cluny.  Medals  at 
Paris  in  1866  and  '75,  and  at  Philadelphia  in  1876.  Pupil  of  Picot. 
At  Philadelphia  was  exhibited  an  "Italian  Girl"  by  this  painter 
(owned  by  Theodore  Lyman  of  Boston),  "  A  Family  Scene  in  the 
Pyrenees  "  (medal),  and  "  The  Convalescent."  At  the  Salon  of  1877 
he  exhibited  "  Andromeda  "  and  a  portrait  of  T.  Lambrecht.  At  the 
Luxembourg  is  his  "  Excavations  at  Pompeii  "  (1866). 

Saint-G-audens,  Augustus.  (Am.)  Born  in  New  York,  1848. 
He  began  his  professional  career  as  a  cameo-cutter  in  his  native  city, 
and  upon  the  proceeds  of  the  sales  of  his  work  in  that  branch  of  art  he 
went  to  Paris,  where  he  spent  some  years  modeling  and  drawing  in  the 
Academy,  and  the  School  of  Medicine,  gaining  a  medal  in  the  latter 
institution.  He  also  studied  sculpture  in  Rome.  Among  his  works 
are  a  statue  of  "Hiawatha"  (belonging  to  E.  D.  Morgan  of  New  York), 
a  statue  of  Farragut  for  the  city  of  New  York  (now  in  Madison 
Square),  and  busts  of  President  Woolsey  of  Yale,  William  M.  Evarts, 
etc.  He  executed  the  bas-reliefs  in  St.  Thomas  Church,  New  York, 
and  assisted  La  Farge  in  the  decoration  of  Trinity  Church,  Boston. 
0e  has  been  Vice-President  of  the  Society  of  American  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  231 


Saintin,  Jules  Emile.  (Fr.)  Born  at  Leme.  Chevalier  of  the 
Legion  of  Honor.  Medals  in  1866  and  '70.  Pupil  of  Drolling,  Picot, 
and  Leboucher.  At  the  Salon  of  1877  he  exhibited  "  The  First  En- 
gagement "  and  "  Self-Satisfied  "  ;  in  1876,  "  The  Last  Ornament  " 
and  "  The  Thoughtless  Soubrette."  '  One  of  his  pictures,  called  "  The 
Tomb  without  Flowers,"  represents  a  young  woman  standing  on  the 
shore  and  gazing  out  at  the  sea.  To  the  Salon  of  1878  he  sent 
';  Jeanne  "  and  "  Will  he  return  1 " 

Saint-Jean,  Simon.  (Fr.)  Born  at  Lyons  (1812  -  1860).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Frangois  Lepage.  This  painter 
was  made  famous  by  his  pictures  of  flowers,  fruits,  birds,  etc.  He 
has  sometimes  painted  in  water-colors.  At  the  Johnston  sale,  New 
York,  1876,  "  A  Fruit-Piece  "  (19  by  26)  sold  for  $  1,350 ;  and  at  the 
Latham  sale,  New  York,  1878,  "  Fruit  and  Flowers  "  (32  by  24)  sold 
for  $  1,400.  At  the  Corcoran  Gallery,  Washington,  is  a  picture  of 
"Fruit"  (1855). 

Salentin,  Hubert.  (Ger.)  Born  at  Ziilpich,  1822.  Medals  at 
Vienna  and  Besancon.  Commenced  his  studies  late  in  life  at  the 
Academy  of  Diisseldorf.  Genre  painter.  His  scenery  is  well  done 
and  he  has  a  pleasing  manner.  At  the  National  Gallery  at  Berlin  is 
his  "  Pilgrim  at  the  Chapel."  In  Berlin,  in  1876,  he  exhibited  "  The 
Praying  Maiden,"  "  Hol'iiber,"  and  "  The  Eeturn  from  the  Wood." 
His  "  Foundling  "  belongs  to  Mr.  S.  D.  Warren  of  Boston. 

S  alms  on,  Hugo.  (Swede.)  Born  at  Stockholm.  Pupil  of  the 
Academy  of  his  native  city,  and  of  Comte  of  Paris,  where,  at  the 
Salon  of  1878,  he  received  honorable  mention.  This  artist  paints 
genre  subjects.  At  the  Paris  Salon  of  1875  he  exhibited  "The  Little 
Swedish  Girl."  The  child,  dressed  in  the  peculiar  costume  and  cap 
of  her  country,  holds  a  pigeon  in  her  arms,  while  the  flock  are  on  the 
ground  beside  her ;  the  background  is  good,  and  well  expresses  the 
character  of  Swedish  scenery.  In  the  Corcoran  Gallery  at  Washing- 
ton is  the  "Fete  of  St.  John  in  Dalecarlia."  This  picture  was  in 
the  Salon  of  1874,  and  selected  by  the  Ministry  of  Beaux- Arts  for 
purchase  ;  but  as  their  appropriation  was  insufficient,  it  was  secured 
for  the  Corcoran  Gallery. 

Salter,  William.  (Brit.)  Born  in  Devonshire  (1804-1875). 
Went  to  London  in  1822,  studying  under  Northcote  for  five  years.  In 
1827  he  went  to  Florence,  where  he  painted  his  "  Socrates  before  the 
Court  of  Areopagos,"  a  picture  that  at  once  established  his  reputation 
as  an  artist,  and  led  to  his  being  elected  a  member  of  the  Academy  of 
Fine  Arts,  and  Professor  of  the  First  Class  of  History  in  Florence. 
He  went  to  Kome  in  1832,  studying  there  and  in  Parma,  returning  to 
London  the  next  year.  For  over  a  quarter  of  a  century  he  was  a 
prominent  member,  and  for  some  time  Vice-President,  of  the  Society 
of  British  Artists.  Among  his  works  (many  of  which  have  been  en- 
graved) are,  "  The  Annual  Banquet  given  by  the  Duke  of  Welling- 


232     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ton  at  Apsley  House  to  the  Veterans  of  Waterloo  ";  "  Jephthah's  Rash 
Vow  "  ;  "  Interview  of  Charles  I.  with  his  Children  in  the  Presence 
of  Cromwell"  (1863)  ;  "Queen  Elizabeth  reproving  Dean  Noel  in 
the  Vestry  of  St.  Paul's  "  (1865)  ;  "  Desdemona  and  Othello  before  the 
Senate  "  (1869)  ;  "  The  Last  Sacrament"  (1874)  ;  "The  Merchant  of 
Venice  "  ;  etc. 

"Salter's  best  works  are  his  portraits,  both  male  and  female.  These  are  numerous, 
and  as  a  rule  show  brilliant  and  harmonious  coloring."  —  Art  Journal,  March,  1876. 

Sand,  Maurice,  real  name,  Dudevant.  (Fr.)  Born  at  Paris,  about 
1825.  Chevalier  of  the  Legion  of  Honor.  Son  of  Mme.  Dudevant, 
(George  Sand).  This  artist  has  also  a  name  as  a  man  of  letters.  His 
pictures  are  of  such  subjects  as,  "  Muleteers,"  "A  Market  at  Pompeii," 
"  Leander  and  Isabella,"  etc. 

Sanderson,  Charles  Wesley.  (Am.)  Born  at  Brandon,  Vt.,  1838. 
A  music-teacher  by  profession,  Mr.  Sanderson  has  from  boyhood  prac- 
ticed and  studied  drawing  and  painting.  His  first  teacher  was  James 
Hope,  a  Scotchman  who  settled  in  Vermont  Later,  he  studied  oil- 
painting  under  S.  L.  Gerry.  In  Paris  he  practiced  drawing  from  life 
in  the  atelier  of  Julien,  where  he  took  two  prizes  and  was  admitted 
to  FJicole  des  Beaux- Arts  for  excellence  in  drawing  from  the  nude. 
He  afterwards  gave  some  attention  to  water-color  painting  in  England, 
and  has  continued  the  practice  of  this  art.  Of  late  his  pictures  have 
attracted  attention,  and  several  of  them  have  been  sold  for  good  prices. 
Among  them  are,  "  Lana  Cascade,  near  Lake  Dunmore,  Vermont " 
(purchased  by  Mr.  Turner  of  Brooklyn),  "  The  Afterglow,  Wetter- 
horn  "  (Mrs.  S.  D.  Warren  of  Boston),  "  Otter  Creek  Meadows,  Ver- 
mont "  (Mr.  Wright  of  Boston),  etc. 

"  In  the  same  gallery  there  is  a  water-color  by  Mr.  C.  W.  Sanderson,  whose  paintings 
should  be  more  frequently  exhibited.  The  painting  is  a  study  of  the  '  Lana  Cascade,' 
near  Lake  Dunmore,  Vt. ,  and  is  in  most  respects  an  excellent  picture.  There  is  noth- 
ing at  all  conventional  about  it,  and  one  can  easily  see  that  the  artist  has  attempted 
to  make  an  accurate,  careful,  and  truthful  interpretation  of  the  scene  before  him.  The 
handling  of  the  colors  is  a  clear  indication  that  the  artist  has  skill  in  manipulating  the 
brush,  and  it  is  this  disclosure  of  reserved  strength  that  arouses  the  desire  to  know  the 
artist  better  through  his  paintings.  The  scene  in  itself  is  a  charming  one,  very  familiar 
to  be  sure,  but  of  that  sort  which  one  is  never  tired  of  seeing." — Boston  Daily  Adver- 
tiser. 

Sandys,  Frederick  K.  (Brit.)  Born  in  1832.  First  exhibited 
at  the  Royal  Academy  in  1854.  A  painter  of  portraits,  in  which  he 
has  been  very  successful,  and  occasionally  an  exhibitor  of  ideal  sub- 
jects. Among  the  latter  may  be  mentioned,  "  Oriana  "  (R.  A.,  1861), 
"La  Belle  Ysonde  "  (1863),  "  Morgan-le-fay  "  (1864),  "  Cassandra  " 
(1865),  and  "  Medea  "  (1869).  This  artist  also  furnishes  wood-cuts  for 
the  publishers  of  illustrated  books  from  time  to  time.  His  "  Medea" 
was  at  the  Paris  Exposition  of  1878. 

"Mr  Sandys,  though  we  believe  known  as  the  author  of  some  noteworthy  drawings, 
must  be  also  reckoned  as  a  painter  among  the  men  of  promise  in  which  this  Exhibition 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  233 


[R.  A.,  1863]  has  been  unusually  fertile.  His  head  of  Mrs.  Rose  has  struck  every  one 
as  a  remarkable  example  of  execution,  in  which  careful  drawing  and  characteristic  ex- 
pression are  set  off  to  the  best  advantage  by  significance  in  the  accessories  and  care  in 
the  finish."  —  Palgrave's  Essays  on  Art. 

"  Neither  in  his  portraits  nor  in  his  pictures  does  Frederick  K.  Sandys  always  attain 
ideal  grace  and  harmony,  but  he  is  always  closely  in  contact  with  his  subject.  There  is 
never  any  want  of  reality  in  the  impression  given  by  his  paintings,  rather  perhaps 
there  is  sometimes  a  want  of  reserve  in  the  emphasis  and  vivid  power  displayed.  But 
when  these  powers  do  find  a  complete  embodiment  in  the  treatment  of  some  worthy 
theme,  the  effect  is  as  strong  as  anything  to  be  found  in  the  art  of  our  time.  The  picture 
of  '  Medea,'  exhibited  some  time  ago,  is  a  remarkable  example  in  this  direction.  There 
the  ideal  was  kept  supreme,  and  yet  the  influence  of  the  picture  was  intense  in  its 
reality."  —  Art  Journal,  August,  1873. 

Sangster,  Samuel.  (Brit.)  (1804  - 1872.)  A  line-engraver  of 
considerable  reputation.  Among  the  better  known  of  his  works  are, 
"  The  Gentle  Student  "  and  "  Forsaken,"  after  G.  S.  Newton  ;  "  The 
Syrian  Maid,"  after  Pickersgill ;  "  The  Victim,"  after  A.  L.  Egg  ; 
"  Juliet  and  the  Nurse,"  after  Briggs  ;  "  The  Sepulcher,"  after  Etty  ; 
and  "  A  Scene  from  Midas,"  after  Maclise.  Sangster  retired  from  the 
active  practice  of  his  profession  some  time  before  his  death. 

Sanguinetti,  Francesco.  (Ital.)  Born  at  Carrara.  Died  1870. 
Pupil  of  his  father  and  of  Rauch  of  Berlin.  After  visiting  Italy  he 
returned  to  the  studio  of  Rauch  in  1831.  He  executed  several  busts 
and  a  statue  of  Hylas  in  marble.  He  then  settled  in  Munich,  where 
he  died.  He  there  executed  many  portrait  busts  of  distinguished  in- 
dividuals, and  at  the  time  of  his  death  was  engaged  upon  a  statue  of 
Maximilian  II.,  intended  for  the  National  Museum.  He  carried  out 
the  models  of  Schwanthaler  for  the  figures  in  the  State  Library  and 
the  Asylum  for  the  Blind. 

"  Sanguinetti's  private  life  seems  to  have  been  particularly  unfortunate.  First,  he 
lost,  it  has  been  stated,  by  mismanagement,  a  property  he  had  bought  with  the  savings 
of  many  years  ;  next,  his  daughter  was  assassinated  at  the  age  of  nineteen  by  a  jealous 
lover  ;  then  he  was  swindled  by  a  dealer  out  of  a  valuable  collection  of  pictures  ;  and, 
lastly,  lost  what  money  he  had  latterly  accumulated  by  the  bursting  of  a  bubble  com- 
pany, and  was  even  compelled  to  sell  the  little  house  in  which  he  resided."  —  Art  Jour- 
nal, May,  1870. 

Sanson,  Justin-Chrysostome.  (Fr.)  Born  at  Nemours.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Jouffroy.  His  "  Pieta  "  (group, 
marble,  1876)  was  bought  by  the  Ministry  of  Fine  Arts.  This  sculp- 
tor has  been  much  employed  upon  public  monuments  and  buildings, 
such  as  the  Palace  of  Justice  at  Amiens,  the  New  Opera,  etc. 

Sant,  James,  R.  A.  (Brit)  Born  in  London,  1820.  Became  a 
pupil  of  Varley,  and  entered  the  Royal  Academy  in  1840,  shortly 
after  beginning  his  career  as  a  painter  of  portraits,  in  which  art  he 
has  been  very  successful.  Among  his  sitters  have  been  the  Prince  Con- 
sort, and  several  members  of  the  Royal  Family,  the  Due  d'Aumale,  the 
Lord  Bishop  of  London  (1865),  and  the  Queen  and  the  children  of 
the  Prince  of  Wales  (1872),  shortly  after  which  he  was  appointed 
Principal  Painter  in  Ordinary  to  Her  Majesty.    Among  his  figure- 


234     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


pictures  may  be  mentioned,  "Samuel"  (1853);  "Children  of  the 
Wood  "  (1854); "  Infancy  "  (1857) ;  "  Little  Red  Riding-Hood  »  (1860); 
"The  First  Sense  of  Sorrow"  (when  he  was  elected  Associate  of  the 
Royal  Academy  in  1862);  in  1863,  "  Taking  Notes  ";  in  1864,  "  Turn 
again,  Whittington  ";  in  1866,  "Light  in  Dark  Places";  in  1869, 
"  Mentonese  Children  ";  in  1870,  "Alone";  in  1871,  "  The  Schoolmas- 
ter's Daughter  "  (his  diploma  work,  deposited  on  his  election  as  Acad- 
emician); in  1874,  "  Peaches  ";  in  1875,  "The  Early  Post";  in  1877, 
"Gleanings";  in  1878,  "Little  Zara." 

His  "Young  Whittington"  was  at  Philadelphia  in  1876;  "The 
Early  Post"  and  "  Adversity,"  at  Paris  in  1878. 

"  Mr.  Sant  has  given  us  everything  in  this  painting  £'  Early  Post,'  R.  A.,  1875] :  youth, 
beauty,  life,  sympathy,  a  charming  story,  and  a  very  pleasant  reminiscence  of  an  English 
country-house,  without  our  ever  having  been  there.  As  an  example  of  careful  art-work 
and  purity  of  tone  in  coloring,  this  composition  of  itself  is  excellent,  but  as  an  incident 
of  every-day  life,  depicted  on  canvas,  it  is  one  of  the  very  best  pictures  of  the  Academy." 
—  Art  Journal,  July,  1875. 

Santarelli,  Emilio.  (Ital.)  Born  at  Florence,  1801.  Professor  of 
the  Academy  of  Fine  Arts  at  Florence.  Son  of  an  artist,  he  was 
early  instructed  in  design,  and  went  to  Rome,  where  he  was  a  pupil 
of  Thorwaldsen.  He  has  not  attained  great  fame,  although  he  has 
executed  many  works  by  which  he  will  be  honorably  remembered. 
One  glorious  act  of  his  merits  the  gratitude  of  coming  generations. 
He  has  collected  a  marvelous  number  of  original  drawings  by  the  old 
masters,  and  these  he  presents  to  the  city  of  Florence,  in  order  that 
they  may  never  be  dispersed  or  fall  into  mercenary  hands;  among 
them  are  some  chefs-d'oeuvre.  Among  the  works  of  Santarelli  are  a 
statue  of  Michael  Angelo,  placed  under  the  loggia  of  the  Uffizi, 
many  portrait  busts,  a  series  of  bas-reliefs  of  mythological  subjects, 
a  statue  called  "  The  Good  Shepherd,"  a  "  Kneeling  Magdalen,"  a 
"Bacchante,"  "The  Prayer  of  Innocence,"  "Cupid  in  Mischief,"  a 
half-colossal  statue  of  St.  Francis,  etc. 

Sargent,  John  S.  (Am.)  Born  in  Florence,  1856.  He  has  lived 
for  many  years  in  Europe,  painting  in  Paris  under  Carolus  Duran. 
His  "  Fishing  for  Oysters  at  Cancale,"  at  the  Exhibition  of  the  So- 
ciety of  American  Artists  in  New  York  in  1878,  was  purchased  by 
Samuel  Colman.  To  the  Paris  Salon,  in  1878,  he  had  "En  route 
pour  la  Peche."  At  the  Paris  Exhibition  of  1878  he  exhibited  a  por- 
trait ;  at  the  Salon,  1879,  a  portrait  of  Carolus  Duran.  [Medal,  1881.] 
Sarrocchi,  Tito.  (Ital.)  Born  in  Siena  about  1825.  Professor 
at  the  Academy  of  Siena.  Pupil  of  this  Academy  and  of  Dupre  in 
Florence.  He  has  been  successful  as  an  artist,  showing  much  imagi- 
nation, great  fidelity  to  nature,  and  great  skill  in  execution.  Among 
the  works  by  which  he  is  known  we  may  mention  the  "  Finding  of 
the  Cross  by  Queen  Helena,"  an  alto-relievo  on  the  facade  of  Santa 
Croce,  Florence  ;  a  very  beautiful  Bacchante,  exhibited  at  the  Exposi- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  235 


tion  in  Paris  in  1867  ;  a  fine  group  for  the  Campo  Santo  of  Siena  ;  a 
group  of  a  little  girl  teaching  a  young  child  his  first  prayer ;  a  beauti- 
ful figure  of  Hope,  and  several  portrait  statues,  all  fine  in  conception 
and  execution.  The  restorations  of  the  statues  of  the  Cathedral  of 
Siena  and  of  the  Fonte  Gaia  in  the  Piazza  Victor  Emmanuel  are  by 
Sarrocchi. 

S  art  am,  John.  (Brit- Am.)  Born  in  London,  1808.  Academician 
and  member  of  the  Pennsylvania  Academy  of  Fine  Arts.  Trustee 
and  Member  of  the  Committee  on  Instruction  in  the  Pennsylvania 
Museum  and  School  of  Industrial  Art.  Controller  of  the  Artists'  Fund 
Society,  Philadelphia.  Vice-President  of  the  School  of  Design  for 
Women,  Philadelphia.  Chief  Administrator  of  Fine  Arts  at  the  Phil- 
adelphia Centennial  Exhibition  of  1876.  Honorary  Member  of  the 
Art  and  Amicital  Society  of  Amsterdam.  In  1878  he  received  the 
Cross  of  Officer  of  the  Equestrian  grade  of  the  Order  of  the  Crown  of 
Italy  from  King  Umberto.  He  removed  to  America  in  1830,  having 
already  made  a  reputation  as  an  engraver.  In  1842  -  43  he  was  pro- 
prietor of  Campbell's  Magazine  and  editor  of  Sartain's  Union  Maga- 
zine. He  was  the  first  good  engraver  in  mezzo-tinto  in  America. 
He  -has,  it  is  said,  produced  more  works  than  any  other  living  en- 
graver. His  "  Christ  Eejected,"  after  Benjamin  West,  and  "  The  Iron- 
Worker  and  King  Solomon,"  after  C.  Schussele,  are  the  largest  and 
most  important  as  well  as  the  finest  mezzo-tinto  plates  ever  made  in 
America.  His  portraits  of  Sir  Thomas  Lawrence  and  others  are 
fine  ;  that  of  Professor  Mapes  was  made  from  his  own  drawing. 
His  "  Battle  of  Gettysburg,"  after  the  picture  by  Peter  F.  Rothermel, 
is  a  very  interesting  work.  Among  his  plates  are,  William  Penn  (full 
length),  after  H.  Inman  ;  Henry  Clay  (full  length,  in  the  act  of  speak- 
ing), after  John  Nagle  ;  Martin  Van  Buren  (full  length),  after  Inman, 
and  other  portraits,  which  we  have  not  space  to  name.  Also,  "  Adam 
and  Eve,"  after  Marc  Antonio's  celebrated  print ;  "  Zeisberger  preaching 
to  the  Indians,"  after  Schussele  ;  "  County  Election  in  Missouri,"  after 
C.  C.  Bingham  ;  "  Eugenie,  Empress  of  France,  and  the  Ladies  of  her 
Court,"  after  Winterhalter  ;  "  The  Return  from  Market,"  after  J.  L. 
Krimmel ;  "  The  Valley  of  the  Battenkill,"  after  Boutelle  ;  etc.  He 
has  been  for  many  years  a  resident  of  Philadelphia. 

Sartain,  William,  A.  N.  A.  (Am.)  Born  in  Philadelphia,  1843. 
Son  of  the  preceding.  He  spent  six  months  in  the  Pennsylvania 
Academy  of  Fine  Arts  and  seven  years  under  Leon  Bonnat  at  Paris, 
studying  also  at  the  Academie  Nationale  des  Beaux- Arts,  and  making 
excursions  to  Algiers  and  elsewhere.  He  passed  one  winter  in 
Rome,  one  in  Seville,  and  the  winter  of  1877  and  '78  in  New  York, 
joining  the  Society  of  American  Painters  on  its  organization  in  1877, 
and  contributing  to  its  first  exhibition,  "  A  Court- Yard,  Paris,"  "  Ital- 
ian Girl,"  and  other  pictures.  His  "  View  in  the  Street  of  Algiers  " 
was  in  the  Paris  Exposition  of  1878.    His  "  Italian  Head,"  at  the  Na- 


236      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tional  Academy  of  1876,  was  purchased  on  the  opening  day  of  the 
Exhibition  by  Samuel  Colman,  N.  A.  To  the  National  Academy,  in 
1878,  he  contributed  "Young  Italy"  and  "  A  Street  in  Algiers." 

"  For  a  female  figure  in  life-scale,  however,  if  we  wish  to  go  to  one  which  easily  over- 
comes everything  else  in  the  Exhibition,  whether  portraits  or  invented  characters,  we 
must  approach  William  Sartain's  simple  head  of  a  Contadina  [N.  A.,  1876].  No  other 
study  of  life  compares  with  it  in  the  most  distant  way,  and  from  the  standpoint  of  its 
intentions  and  problems  it  may  be  called  a  perfect  work.  It  is  a  beautiful,  plaintive 
Italian  face,  looking  upward  in  prayer.  The  lifting  of  the  brows  over  the  forehead  ;  the 
sockets  of  the  black,  hollow  eyes  ;  the  dark,  yet  transparent,  olive  of  the  cheek  ;  and  the 
flesh  shadows,  so  deep,  yet  not  opaque,  show  the  great  promise  and  present  success 
of  this  pupil  of  Bonnat."  —  New  York  Nation,  April  6,  1876. 

"The  colors  are  so  grave  and  the  modeling  so  delicate  that  it  reminds  one  of  the  Span- 
ish pictures  in  the  Louvre  or  the  Pitti.  This  is  W.  Sartain's  '  Italian  Head,'  something 
wholly  quaint  and  unusual  for  an  American  painter.  Artists  admire  it  for  its  exquisite 
relations  of  light,  and  the  excellent  manipulation  of  the  paint. "  —  Art  Journal,  April, 
1876. 

Sartain,  Emily.  (Am.)  Born  in  Philadelphia,  1841.  Daughter 
of  John  Sartain,  the  well-known  American  engraver,  from  whom  she 
acquired  the  art  of  engraving  on  steel.  She  was  a  pupil  of  the 
Pennsylvania  Academy  of  Fine  Arts,  Philadelphia,  and,  going  to 
Europe,  she  studied  in  Paris  four  years  with  Evariste  Luminais.  'Her 
work  has  been  portraits  and  genre  pictures.  She  has  exhibited  in  the 
Salon  in  Paris,  and  at  different  local  academies  throughout  the  United 
States.  The  greater  part  of  her  professional  life  has  been  spent  in 
Philadelphia,  where  she  has  practiced  both  painting  and  engraving. 
She  worked  for  some  time  in  Paris,  and  in  Parma,  Italy.  To  the 
Centennial  Exhibition  in  Philadelphia,  in  1876,  she  contributed  "  The 
Reproof,"  for  which  in  the  official  report  she  was  "  commended  for 
merit  in  genre  painting." 

Satterlee,  Walter,  A.  N.  A.  (Am.)  Born  in  Brooklyn,  1844. 
A  graduate  of  Columbia  College.  He  studied  art  in  the  schools  of  the 
Academy  of  Design,  spent  some  time  in  the  studio  of  Edwin  White 
in  New  York,  and,  going  abroad,  was  a  pupil  of  Leon  Bonnat  in 
Paris.  He  began  to  exhibit  at  the  National  Academy  about  1868, 
sending  to  the  gallery  in  that  year,  "  Autumn  turning  the  Leaves " 
and  "  Count  Fosco."  In  1870  he  contributed  "  Morning  among  the 
Flowers"  ;  in  1871,  "Feeding  the  Pets"  ;  in  1873,  "A  Coquette  of 
the  Olden  Time  "  ;  in  1874,  when  he  was  in  Rome,  he  sent  "  Out  for 
a  Ride  "  (belonging  to  H.  C.  Howell)  ;  in  1876,  "  The  Arrow  and 
Song  "  ;  in  1877,  "  His  Eminence  the  Cardinal "  ;  in  1878,  "  Contem- 
plation "  and  "  The  Captive."  He  was  elected  a  member  of  the  Amer- 
ican Society  of  Painters  in  Water-Colors  in  1873  or  '74,  exhibiting, 
in  1875,  "  The  Young  Bohemians  "  and  "  Cinderella  "  ;  in  1876,  "  The 
Evening  Prayer  on  the  Lake"  ;  in  1877,  "  The  Fortune-Teller"  ;  in 
1878,  "  Old  Ballads,"  "  The  Belle  of  the  Village,"  etc.  Among  his 
most  important  works  are,  "  Contemplation,"  "  Come,  ye  Disconso- 
late," "  The  Peacemaker,"  "  Marguerite,"  "  Love  in  Sunshine,"  "  Love 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  237 


in  Shade,"  and  "  Love-Making  in  Capri "  (the  last  belonging  to  Sam- 
uel V.  Wright  of  New  York).  To  the  Centennial  Exhibition  at 
Philadelphia,  in  1876,  he  sent  "Marguerite"  (in  oil),  and  "  Far- 
Away  Thoughts  "  and  "  One  Hundred  Years  Ago  "  (in  water-colors). 

Scaramuzza,  Francesco.  (Ital.)  This  artist's  illustrations  of  the 
"  Divine  Comedy"  are  much  praised.  His  subjects  have  been  varied; 
historical,  poetical,  and  mythological  themes  have  all  come  under  his 
brush.  He  has  boldness  and  energy,  and  his  effects  of  light  are  as- 
tonishing. His  representations  of  "  The  Assumption  of  the  Virgin," 
"Eve,"  "  Sarah,"  and  "  Kachel"  are  admirable. 

Schadow,  Friedrich  Wilhelm.  (Ger.)  Born  at  Berlin  (1789- 
1862).  Doctor  of  the  University  of  Bonn.  Knight  of  the  Red 
Eagle  and  other  orders.  Member  of  the  Academy  of  Berlin  and  the 
Institute  of  France.  Professor  at  Berlin  and  at  Diisseldorf.  Went  in 
1810  to  Rome  with  his  brother  Rudolph,  and  joined  the  German 
artists  there,  who  were  called  "  Nazarites."  Two  years  later  both 
brothers  entered  the  Roman  Catholic  Church.  The  "  Wise  and  Fool- 
ish Virgins  "  of  the  Stadel  Institute,  Frankfort,  is  a  fair  work  from 
which  to  judge  this  painter.  He  was  not  a  great  master,  and  he  holds 
higher  rank  as  a  professor  than  as  an  artist.  Scholars  crowded  to  him 
from  Berlin,  and  at  Diisseldorf  he  numbered  Hildebrandt,  Sohn,  and 
Lessing  among  his  pupils.  He  lived,  however,  to  see  even  this  glory 
shadowed.  He  was  accused  of  sectarianism  or  over-zeal  for  religious 
art ;  he  was  called  weak  and  superficial,  and  he  resigned  his  position  as 
a  leader.  He  received  many  honors,  but  he  paid  the  necessary  penalty 
in  this  age,  for  desiring  every  picture  to  be  sanctified  by  crucifixes, 
Virgins,  and  other  symbols,  forgetting  that  truth  and  beauty  simply 
rendered  must  lead  the  mind  to  the  source  of  truth,  and  need  not  the 
aids  of  artificial  or  formal  signs.  At  the  National  Gallery,  Berlin, 
are  his  "  Christ  at  Emmaus  "  and  a  portrait  of  a  woman. 

Schampheleer,  Edmond  de.  (Belgian.)  Born  at  Brussels. 
Medal  at  Philadelphia,  where  he  exhibited  "  Nimuegen  on  the  River 
Wahal."  At  Paris,  1877,  were  his  "  Dordrecht  and  the  Meuse  "  and 
"  The  Road  of  Loosdricht  at  Hilversum."  He  has  also  exhibited  some 
of  the  above  pictures  at  the  Royal  Academy,  London,  and  at  the  Paris 
Exposition,  1878,  he  exhibited  " Near  Gouda"  and  "Between  Wit- 
teren  and  Zele." 

Schauss,  Prof.  Ferdinand.  (Ger.)  Of  Weimar.  Medal  at  Phila- 
delphia, where  he  exhibited  "  Saint  John  "  and  "  A  Dryad,"  which 
were  commended.    To  Paris,  in  1878,  he  sent  "  Calisto." 

Scheffer,  Ary.  Born  at  Dordrecht  (1795- 1858).  Officer  of  the 
Legion  of  Honor.  This  artist  was  French  before  the  civil  law,  because, 
under  the  name  of  the  Bavarian  Republic,  his  birthplace  was  within 
the  limits  of  the  new  French  Departments.  His  father,  an  artist,  died 
young,  and  his  mother  superintended  his  education.  As  early  as 
1807  a  picture  of  Scheffer's  attracted  attention.    His  mother  took 


238     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


him  to  Paris,  and  placed  him  under  the  instruction  of  Guerin.  For 
several  years  after  his  debut  he  painted  small  genre  subjects,  includ- 
ing "  The  Soldier's  Widow,"  "  A  Sister  of  Charity,"  etc.  At  length 
he  occupied  himself  with  scenes  from  works  of  great  poets,  such  as 
Goethe,  Burger,  Schiller,  Dante,  and  Byron.  "  Beatrice  "  and  "  Fran- 
cesca  di  Rimini,"  which  appeared  at  the  Salon  of  1835,  were  his 
crowning  works  in  this  department.  Later,  he  devoted  himself  to  re- 
ligious subjects,  as  "  Christ  bearing  his  Cross,"  "  Temptation  of 
Christ,"  "  Christ  the  Consolator,"  "  Ruth  and  Naomi,"  etc.  Many  of 
his  works  are  well  known  from  the  engravings  of  Bernardi,  Blanchard, 
Calamatta,  Dupont,  Louis,  Thevenin,  etc.  Scheffer  may  be  called  a 
romanticist.  He  was  extravagantly  fond  of  music,  and,  in  truth, 
had  the  soul  of  a  poet.  After  the  death  of  his  mother  he  wished  to 
execute  a  funeral  monument  for  her,  not  being  willing  that  any  hand 
but  his  own  should  do  this  work.  He  essayed  sculpture  for  the  first 
time,  and,  for  a  novice,  the  work  was  creditable.  The  sentiment 
which  prompted  this  act  is  most  touching  to  the  hearts  of  all  mothers. 
At  the  Johnston  sale,  New  York,  1876,  "  Love  Celestial  and  Terres- 
trial "  (13  by  8,  sepia)  sold  for  $  200.  At  the  Corcoran  Gallery, 
Washington,  is  his  picture  of  "  Count  Eberhard." 

"All  the  circumstances  of  Scheffer's  life  were  favorable  to  his  artistic  development. 
His  father  had  been  a  respectable  artist,  with  a  competent  private  fortune  ;  .  .  .  . 
Madame  Scheffer  herself  was  an  amateur  painter  of  some  ability,  and  both  respected 

artists  and  understood  the  aims  of  their  existence  Scheffer,  like  David,  led  an 

ardent  political  life  by  the  side  of  his  artistic  one  ;  but  whereas  David's  political  career 
lowers  him  in  the  opinion  even  of  his  own  party,  that  of  Scheffer  is  always  honor- 
able, and  its  greatest  fault  is  nothing  worse  than  that  want  of  prudence  inseparable 

from  all  private  political  action  Scheffer  will  be  remembered  as  a  friend  of  the 

Orleans  family.  He  was  introduced  to  them  by  Gerard  in  1826,  and  became  their 
drawing-master,  and  soon  afterwards  their  friend.  ....  It  is  very  curious  that  Scheffer 
was  one  of  the  two  persons  [Thiers  being  the  other]  who,  in  1830,  rode  to  Neuilly  to  tell 
Louis  Philippe  that  he  was  to  be  king,  and  that  Scheffer  should  have  been  also  one 
of  the  sad  group  that  quitted  the  Tuileries  in  1848,  when  he  assisted  Louis  Philippe 

into  his  cab  The  affectionate  relation  which  existed  between  Scheffer  and  the 

Princess  Marie  reminds  us  of  Roger  Ascham  and  Lady  Jane  Grey.  ....  Scheffer,  as  an 
artist,  owes  his  rank  almost  entirely  to  the  elevation  of  his  feeling.  His  drawing  is 
usually  correct  and  his  taste  refined  ;  but  his  color  is  bad,  and  though  his  handling  is 
neat,  from  much  practice,  it  has  no  artistic  subtlety.    The  excellence  of  his  personal 

character  had  some  concern  in  his  success  I  have  a  great  difficulty  in  admitting 

that  any  artist  is  a  great  painter  who  is  not  also  a  colorist,  and  Scheffer,  by  uniting  bad 
color  with  considerable  artistic  merits  of  other  kinds,  has  done  positive  harm  to  the  art 

of  painting  Of  landscape  he  was  wholly  ignorant,  and,  like  most  figure-painters, 

could  not  understand  that  there  were  fields  of  study  in  that  department  of  art  lying 
outside  the  limits  of  his  knowledge.  He  was  a  cultivated  gentleman  and  man  of  the 
world,  and  had  the  habits  of  one,  so  far  as  they  were  compatible  with  the  industrious 
pursuit  of  art.  His  great  interest  in  politics  gave  him  a  common  ground  on  which  he 
habitually  met  men  of  distinction  who  were  more  or  less  indifferent  to  painting.  In  this 
respect  Scheffer  enjoyed  an  advantage  somewhat  rare  among  artists,  whose  own  pursuit 
is  so  engrossing  that  they  are  liable  to  be  entirely  absorbed  by  it  He  will  be  re- 
membered as  an  artist  of  high  aim  and  pure  sentiment,  and  a  man  of  more  than  com- 
mon political  conviction  and  fidelity,  but  his  influence  upon  art  has  been  slight,  and 
will  not  be  durable."  —  Hamerton's  Contemvor.ary  French  Painters. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  239 


"  However,  Ary  Scheffer  was  not  alone  an  artist,  he  was  a  mind,  a  heart,  a  character  : 
a  mind  open  to  all  culture,  all  graces,  all  enthusiasms  ;  a  heart  tender,  generous,  de- 
voted, under  an  envelope  somewhat  rude  and  harsh  ;  a  character  imbued  with  stoicism, 
with  inflexible  uprightness,  austere  probity,  which  has  lived  in  our  time  (it  is  to  say  all) 
without  pollution,  without  weakness  or  faltering.  Have  I  told  how  sweet  and  true 
were  his  friendships,  how  solid  and  charming  his  conversations,  how  sincere,  indulgent, 
and  faithful  his  affection?  To  enjoy  them  was  the  privilege  of  his  friends  and  asso- 
ciates. Did  I  tell  df  his  unbounded  generosity,  his  prodigal  benevolence,  so  inex- 
pressible that  after  a  fruitful,  laborious  life  and  many  well-paid  labors,  Scheffer  had 
only  wherewith  to  live  from  day  to  day,  and  left  not  the  least  saving  ?  He  would  tell 
me  that  the  left  hand  should  not  know  that  which  the  right  gives.  Shall  I  tell,  in  fine, 
the  immovable  constancy  of  his  opinions  and  of  the  attachments  which  he  formed  ?  . .  .  . 
I  wish  only  among  a  hundred  equally  honorable  acts  to  cite  one,  not  well  known,  and 
which  a  late  confidence  revealed  to  me.  Ary  Scheffer  was  for  a  long  time  an  Officer  of 
the  Legion  of  Honor.  After  the  terrible  and  fatal  days  of  June,  1848,  when  he  bravely 
led  the  battalion  of  the  National  Guard,  of  which  he  was  chief,  the  cross  of  a  com- 
mander was  offered  him.  '  If  this  distinction,'  replied  he,  '  were  accorded  to  me  in  my 
career  as  an  artist,  and  as  a  prize  for  my  works,  I  should  receive  it  with  deference  and 
satisfaction  ;  but  to  adorn  myself  with  a  collar  which  would  recall  to  me  the  horrible 
combats  of  civil  war,  —  never ! '  He  was  inflexible.  This  instance  suffices  to  paint  the 
man,  and  we  can  terminate  this  sketch  of  his  life  with  the  last  words  of  the  preface 
to  the  Book  of  Job,  in  which  the  eminent  interpreter  of  this  old  Hebrew  poet 
deplores  that  Ary  Scheffer  was  not  able  to  finish  his  compositions  on  this  subject. 
*  Alas  !  what  lessons  of  moral  elevation,  what  a  source  of  profound  emotions  and  high 
thoughts,  have  disappeared  from  our  age,  so  poor  in  great  souls,  with  the  last  sigh  of 
this  man  of  heart  and  genius. Louis  Viardot,  Gazette  des  Beaux-Arts,  February, 
1859. 

Schelfhout,  Andrew.  {Dutch.)  Born  at  The  Hague  (1787- 
1870).  Member  of  all  the  academies  of  Holland.  Medals  at  Ant- 
werp, Brussels,  Ghent,  and  The  Hague.  This  landscape-painter  was 
especially  successful  in  representing  winter  scenes.  His  pictures  are 
in  the  Munich  and  other  galleries.  They  are  usually  small,  although 
he  has  sometimes  painted  large  works.  They  show  skillful  drawing, 
with  fine  knowledge  of  perspective,  and  are  good  in  color  and  care- 
ful in  execution.  At  the  Johnston  sale,  "  A  Winter  Landscape"  (21 
by  27)  sold  for  $  610.  It  was  from  the  Wolfe  sale  in  1863.  At  a 
sale  in  Utrecht,  1873,  "  The  Mountain  Landscape  "  brought  £  758. 
Mr.  Probasco  of  Cincinnati  has  in  his  collection  "  A  Skating  Scene  " 
by  Schelfhout,  painted  in  1849,  which  is  a  fine  example  of  this  mas- 
ter's style. 

Schenck,  August-Frederic- Albrecht.  (Ger.)  Born  at  Gluck- 
stadt,  1828.  Chevalier  of  the  Orders  of  Christ  of  Portugal  and  of 
Isabella  the  Catholic.  Medal  at  Philadelphia.  He  passed  some  time 
in  business  in  England  and  Portugal  before  he  became  a  pupil  of 
Cogniet.  He  made  his  debut  at  the  Salon  of  1855.  His  "  Repose 
on  the  Seashore  "  (1864)  and  "  The  Awakening  "  (1865)  were  bought 
by  the  State.  His  pictures  are  much  admired,  and  his  reputation  is, 
perhaps,  greater  in  England,  Portugal,  and  America  than  in  France. 
His  exhibit  of  1877,  "  The  Return  to  the  Park  "  and  "  A  Bit  of  Au- 
vergne,"  was  much  praised.    Soon  after  his  debut  he  lost  his  fortune. 


240     ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


At  Philadelphia  he  exhibited  "  Sheep  in  a  Storm."  Mr.  D.  Waldo 
Lincoln  has  a  very  fine  work  by  Schenck  with  the  same  title.  Among 
his  more  famous  pictures  are  "  Autour  de  l'auge,"  belonging  to  Count 
Castellani  ;  "  Perdus,"  to  Miss  Wolfe  of  New  York  ;  "  The  last  Hour," 
to  Mr.  Gibson  of  Philadelphia.  Mrs.  Eliza  Sutton  of  Peabody,  Mass., 
has  a  fine  example  of  his  brighter  manner,  where  the  flock  are  be- 
neath a  bright  sky,  in  the  midst  of  gay  flowers  and  fresh  pasturage. 
The  "  Awakening "  is  at  the  Museum  of  Bordeaux  ;  and  "  In  the 
Dale,"  at  the  Museum  of  Lille, — in  short,  Schenck's  pictures  are  in 
many  galleries  in  Europe  and  America.  At  the  Salon  of  1878  he 
exhibited  "  Anguish  "  and  "  The  Neighboring  Mill." 

"  Albert  Schenck  is  certainly  one  of  the  most  original  figures  of  the  contemporaneous 
artistic  gallery  ;  I  should  like  to  have  the  time  to  paint  in  full  this  robust  companion, 
born  in  Holstein,  annexed  by  Prussia  without  asking,  and  adopted  by  France  because  he 
wished  it.  All  the  world  to-day  regards  ScheDck  as  one  of  our  first  animal-painters. 
He  is  one  of  those  originals,  of  a  species  not  yet  extinct,  who  prefer  dogs  to  men,  and 
find  more  sweetness  in  sheep  than  in  women.  With  such  fancies  one  leaves  the  city  for 
the  fields,  and  has  only  to  do  with  animals.  Our  artist  has  taken  this  part  after  having 
profoundly  studied  his  fellow-creatures.  Retired  to  Ecouen,  to  a  farm,  he  lives  in  the 
midst  of  oxen,  dogs,  goats,  asses,  horses,  and  sheep  of  all  types,  races,  and  species  ; 
cares  for  them,  cultivates  them,  loves  them,  and  above  all  studies  them,  as  never  artist 
studied  his  models.  He  knows  better  than  any  one  their  habitual  behavior,  their  favor- 
ite poses,  their  preferred  attitudes,  and  the  mobile  play  of  their  physiognomies.  By 
means  of  studying  closely  the  joys  and  griefs  of  these  modest  companions  and  humble 
servants  of  man,  he  has  penetrated  the  inmost  recesses  of  their  souls,  which  he  knows 
how  to  show  us  in  pictures  of  striking  truth.  His  animals'  heads  are  portraits  particu- 
larized with  all  the  care  which  Cabanel,  Dubufe,  and  Bonnat  gave  to  the  human  mask. 
The  picture  which  he  exhibits  to-day  under  the  title  of  '  Angoisses  '  is  pathetic  to  the 
last  degree.  A  lamb  is  wounded,  lying  on  the  ground,  losing  its  blood,  which  pours  out 
of  a  horrible  wound.  The  ravens,  with  their  infallible  instinct,  scent  the  approaching 
death,  and  await  their  prey  ;  their  sinister  circle  is  closed  in,  —  the  unfortunate  little 
beast  cannot  escape  them.  The  mother  is  there  ;  she  comprehends  it,  the  poor  crea- 
ture !  the  fate  which  awaits  her  dear  nursling,  and  broken-hearted,  full  of  anguish  [it  is 
the  title  of  the  picture,  and  it  is  just],  she  bleats  for  the  shepherd  who  comes  not.  It  is 
a  little  drama,  this  picture,  and  as  poignant  as  if  it  had  men  for  actors  and  victims. "  — 
Supplement  of  the  Figaro,  June  5,  1878. 

"  There  are  few  artists  more  popular  than  Schenck,  and  the  crowd  which  goes  from 
year  to  year  to  the  Palace  of  Industry  has  quickly  discovered,  among  the  innumerable 
pictures,  his  works  with  a  touch  so  spirituclle  and  a  dramatism  so  powerful  in  their 
simplicity.  The  reflected  judgment  of  the  connoisseurs  confirms  the  instantaneous  im- 
pression of  the  multitude,  and  this  artist  is  able  to  please  equally  the  difficult  and  the 
naifs."  —  Edouard  Drumont,  GaUrie  Contemporaine,  Litteraire,  Artistique,  1871. 

Schendel,  Petrus  van.  (Dutch.)  Born  at  Ter  Heyden  (1806  - 
1870).  Medals  at  Paris,  in  Holland  and  Brussels.  Studied  in  Am- 
sterdam, B,otterdam,  and  Antwerp.  His  earlier  works  included  a 
variety  of  subjects.  After  a  time  he  devoted  himself  to  scenes  by 
lamplight  and  firelight,  which  were  very  popular.  At  the  National 
Gallery  at  Berlin  are  two  of  his  market-scenes,  "  A  Woman  selling 
Fish"  and  another  with  vegetables.  At  the  Leipsic  Museum  are 
"The  Keturn  from  the  Hunt"  and  "A  Scene  in  a  Fish-Market." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  241 


Schetky,  John  Christian.  (Brit.)  Born  in  Scotland  (1778- 
1874).  Educated  at  the  High  School  of  Edinburgh,  with  Brougham, 
Scott,  and  Horner.  In  1825  and  previously  he  exhibited  marine- 
pictures  of  an  historical  character,  and  was  marine-painter  succes- 
sively to  George  IV.,  William  IV.,  and  Victoria.  He  exhibited  at 
the  .Royal  Academy,  London,  as  late  as  1871,  "A  Gallant  Rescue" 
and  "  Coming  to  Anchor  in  Portland  Roads  "  ;  in  1872,  he  sent 
"  Wreck  of  the  Frigate  Anson,"  "  Shipping  in  the  Olden  Time,"  and 
"  A  Trial  of  Speed  off  the  Dodman." 

"Asa  marine-painter  Mr.  Schetky's  pictures  were  always  held  in  estimation  for  their 
truthfulness  ;  this  quality  appears  to  have  been  his  great  aim.  A  gallery  of  his  works 
would  contain  among  them  some  of  the  most  stirring  naval  actions  that  occurred  dur- 
ing the  long  wars  of  the  early  part  of  this  century,  besides  others  of  a  later  time."  — 
Art  Journal,  February,  1874. 

Schievelbein,  Priedrich  Anton  Hermann.  (Ger.)  Born  in 
Berlin  (1817  -  1867).  Pupil  of  the  Berlin  Academy  and  of  Professsor 
Ludwig  Wichmann.  He  early  received  a  commission  at  St.  Peters- 
burg, where  he  was  employed  in  the  rebuilding  of  the  Winter  Palace 
and  on  the  St.  Isaac's  Church.  At  that  time  he  had  taken  the  grand 
prize  at  Berlin.  Before  he  left  for  Rome  he  sent  in  his  drawing  for 
the  group  for  the  Castle  Bridge.  The  choice  fell  on  his  design,  and 
he  soon  returned  from  Rome  in  order  to  execute  it.  At  Berlin  he 
was  very  active  and  much  employed  in  public  works.  The  Stein 
memorial  was  completed  from  his  designs,  by  his  pupils,  after  his 
death  (it  was  not  erected  until  1875).  He  also  made  the  statues  of 
Luther  and  Melancthon  for  the  University  of  Konigsberg.  At  the 
National  Gallery,  Berlin,  is  the  model  of  a  frieze  in  relief,  subject, 
the  "  Destruction  of  Pompeii."  Among  his  other  works  are,  "  The 
Muses,"  "Raphael,"  "The  Months"  (at  Sans-souci),  "Colossal  Statue 
of  Hermann  von  Salza,"  "  A  Despised  Christ,"  "  A  Winter  Evening," 
"  A  Protecting  Angel,"  etc. 

Schilling,  Johannes.  (Ger.)  Born  at  Mittweida,  1828.  At  the 
Leipsic  Museum  are  his  reliefs  of  "  Jupiter  and  Ganymede "  and 
"  Aphrodite  and  Eros."  At  the  Bruhl  Terrace  in  Dresden  are  his 
groups  of  "  Evening  "  and  "  Night."  Among  his  latest  productions  is 
the  National  Monument  in  the  Niederwald,  —  a  great  work,  combining 
a  representation  of  "  Germania,"  "  Peace,"  "War,"  "  The  Rhine  and 
Moselle,"  "  The  Watch  on  the  Rhine,"  etc.   It  was  unveiled  in  1883. 

Schinkel,  Karl  Friedrich.  (Ger.)  Born  at  Neu-Ruppin  (1781  — 
1841).  Studied  at  the  Academy  of  Berlin  under  David  and  Fried- 
rich  Gilly.  Traveled  in  Italy  and  visited  Paris.  He  was  for  a  while 
obliged  to  support  himself  by  painting,  at  which  time  he  became  as- 
sociated with  Karl  Gropius,  for  whom  he  later  composed  his  famous 
panoramas.  In  1824  and  '26  he  again  visited  Italy  and  France,  and 
also  England.  In  1839  he  received  a  high  official  position  as  an 
architect  in  Prussia.    His  decorative  works  were  remarkable  for  their 

VOL.  II.  11  P 


242     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


grandeur  of  conception  and  grace  of  composition.  He  was  somewhat 
wanting  in  technique  ;  but  his  sentiment  and  rich  imagination  gave 
a  spirit  to  his  works  which  more  than  compensated  for  this.  At 
the  National  Gallery  of  Berlin  are,  "  An  Ideal  Landscape  at  Sunset," 
"  An  Italian  Landscape,"  and  several  others. 

Schirmer,  Guillaume.  (Ger.)  Born  at  Berlin  (1804-1866). 
Professor  and  Member  of  the  Academy  of  Berlin.  He  executed  deco- 
rative works  in  the  Castle  of  Prince  Albert  of  Prussia,  and  in  the 
New  Museum  of  Berlin.  In  the  National  Gallery,  Berlin,  are  his 
pictures  of  "  Tasso's  House  at  Sorrento "  and  a  "  Scene  at  Sans- 
Souci." 

Schleich,  Eduard.  (Ger.)  Born  in  Castle  Haarbach  near  Land- 
shut  (1812- 1874).  Royal  Professor  of  Bavaria.  Pupil  of  the  Mu- 
nich Academy,  but  essentially  taught  by  the  old  masters  and  nature, 
which  he  studied  lovingly.  His  pictures  are  landscapes.  He  trav- 
eled considerably  in  Europe.  His  "  Evening  Landscape "  is  in  the 
National  Gallery,  Berlin.  His  "  Beach  at  Scheveningen  "  (belonging 
to  the  Royal  Museum  at  Munich)  was  at  the  Paris  Exposition  of 
1878. 

Schlesinger,  Henri  Guillaume.  (Fr.)  Born  at  Frankfort. 
(Naturalized  Frenchman.)  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  the  Academy  of  Vienna.  He  made  his  debut  at  the  Salon  of  1840. 
At  the  Salon  of  1875  he  exhibited  «  The  Dove-Cot "  and  "  Jehanne"  ; 
in  1874,  "Brother  and  Sister";  in  1872,  "Lost  Labor";  in  1869, 
"  The  Good  Friends,"  etc.  He  has  exhibited  many  portraits.  At  the 
Royal  Academy,  in  1873,  he  had  "  Ce  n'est  pas  moi !  "  To  the  Salon 
of  1878  he  sent  "A  Good  Kiss"  and  "  Correggio  drawing  some 
Pictures  of  Children." 

Schloesser,  Karl.  (Ger.)  Born  at  Darmstadt.  Painter  of  the 
Diisseldorf  school.  Resides  in  London.  Knight  of  the  Order  of  Merit. 
Medal  at  Vienna.  At  the  Exhibition  of  1876,  at  the  Royal  Academy, 
he  exhibited  "  The  Village  Lawyer "  ;  at  the  first  exhibition  of  the 
Grosvenor  Gallery  (1877),  "  The  Refectory."  His  "  Forbidden  Fruit" 
was  bought  by  Napoleon  III.  Among  his  other  works  are,  "  The 
Reprimand  "  and  "  Reading  the  News,"  —  the  last  is  a  small  picture 
(only  12  by  9)  and  was  sold  at  the  Johnston  sale  in  1876  for  $  310. 
"  The  Political  Opponents  "  was  much  remarked  at  the  Berlin  Expo- 
sition of  1871.  In  1875  he  exhibited  "  Obligatory  Instruction  "  (two 
children  sent  off  to  school,  one  going  very  unwillingly).  At  the 
London  Academy  in  1878  he  exhibited  "  Reprimand,"  and  at  Paris, 
same  year,  "  Seeking  Advice." 

Schmid,  Mattias.  Pupil  of  Piloty.  Paints  the  same  sort  of  sub- 
jects as  Defregger,  and  has  nearly  always  a  political  or  religious 
motive  behind  his  representations.  One  of  his  most  powerful  works 
represents  priests  playing  cards  before  a  Tyrolese  inn  ;  an  old  man 
comes  forward  and  beseeches  the  holy  fathers  to  buy  his  crucifixes 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  243 


which  he  carries  in  his  arms  ;  his  wife  with  her  infant  remains  a  little 
behind.  The  priests  roughly  repulse  him,  but  a  young  girl  who  is 
serving  them  with  beer  regards  the  old  man  with  pity. 

Schmidt,  Max.  (Ger.)  Born  in  Berlin,  1818.  Professor  at 
Konigsberg.  Member  of  the  Academy  of  Berlin.  Medals  at  Berlin 
and  Vienna.  Studied  at  the  Berlin  Academy.  Traveled  extensively 
in  Europe  and  in  the  East.  Landscape-painter.  Some  of  his  decora- 
tive works  are  in  the  New  Museum  at  Berlin.  In  the  National  Gal- 
lery, Berlin,  is  his  "Wood  and  Mountain."  His  "  Banks  of  the  Spree, 
—  Dull  Weather  "  was  at  the  Paris  Exposition  of  1878. 

Schnorr  von  Carolsfeld,  Julius  Veit  Hans.  (Ger.)  Born  at 
Leipsic  (1794  -  1872).  Member  of  the  Institute  of  France.  Professor 
at  the  Academy  of  Munich,  and  later  at  the  Academy  of  Dresden, 
where  he  was  also  Director  of  the  Eoyal  Museum.  Pupil  of  his  father 
and  of  the  Academy  of  Vienna.  In  1817  he  went  to  Rome  and  re- 
mained ten  years.  After  his  return  to  Germany  he  was  commissioned 
by  King  Louis  to  execute  decorative  works  at  the  new  Residence. 
They  consisted  of  five  pictures  from  the  story  of  the  Nibelungenlied. 
He  also  executed  other  important  works  of  the  same  sort,  such  as 
scenes  from  the  lives  of  Charlemagne,  Barbarossa,  and  Rudolf  of  Haps- 
burg.  The  cartoons  of  the  Nibelungen  series  and  a  picture  of  "  St. 
Roch  distributing  Alms  "  are  in  the  Museum  of  Leipsic.  At  the 
National  Gallery,  Berlin,  are  two  other  cartoons  of  scenes  from  the 
Nibelungenlied.  Among  his  other  pictures  are,  "  The  Three  Christian 
Cavaliers  "  and  "  The  Three  Pagan  Cavaliers,"  a  "  Holy  Family," 
frescos  of  scenes  from  the  works  of  Ariosto,  the  "  Marriage  of  Cana," 
"  Jacob  and  Rachel,"  the  "  Annunciation,"  and  other  religious  subjects. 

Schcenewerk,  Alexandre.  (Fr.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  David  d' Angers,  Jollivet,  and  Triqueti. 
At  the  Salon  of  1877  he  exhibited  the  "  Mime-dompteur,"  a  group  in 
plaster  ;  in  1876,  "  Hesitation,"  a  marble  statue  ;  in  1875,  "  A  Young 
Girl  at  the  Fountain,"  in  terra-cotta,  being  a  reduction  of  the  marbie 
statue  of  1873  ;  in  1874,  "  Lulli,"  plaster  statue  (model  of  a  work  in- 
tended for  the  New  Opera),  "  St.  Thomas  Aquinas,"  statue  in  stone 
(for  the  facade  of  the  Sarbonne),  and  "  The  Upper  Portion  of  a  Monu- 
ment to  E.  Ortolan,  Professor  at  Law,"  bronze  ;  and,  in  1872,  a  statue 
of  the  "  Young  Tarentine,"  a  subject  suggested  by  the  words  of  Che- 
nier,  — 

"  Elle  a  vecu,  Myrto,  la  jeune  Tarentine, 
Son  beau  corps  a  roule  sous  la  vague  marine  ! " 

Scholtz,  Julius.  (Ger.)  Born  at  Breslau,  1825.  Professor  in  the 
Academy  of  Dresden,  and  Member  of  the  Academy  of  Berlin.  Studied 
at  Dresden  Academy  and  under  J.  Hiibner.  He  is  an  historical 
painter.  In  the  National  Gallery  at  Berlin  is  his  "Volunteers  of  1813 
before  Frederick  William  III." 

Schorn,  Charles.  (Ger.)  Born  at  Diisseldorf  (1803- 1850).  Pupil 


244     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  Cornelius  at  Munich,  and  of  Gros  and  Ingres  at  Paris.  When  he 
returned  to  Munich  he  assisted  Cornelius  in  some  of  his  great  works. 
Schorn  made  the  cartoon  for  a  painted  glass  window  for  the  Cathedral 
of  Ratisbon,  representing  "  The  Conversion  of  Slaves  by  St.  Benno." 
He  was  employed  by  the  King  of  Bavaria  to  assist  in  forming  the 
Munich  Gallery.  He  visited  many  continental  cities  to  collect  pic- 
tures, and  in  London  purchased  Wilkie's  "  Reading  of  the  Will."  His 
own  pictures  are  of  the  historical  genre  style,  such  as  "  Paul  III. 
contemplating  the  Portrait  of  Luther/'  "  Salvator  Rosa  among  Brig- 
ands," etc. 

Schrader,  Julius.  (Ger.)  Born  at  Berlin,  1815.  Professor  and 
Member  of  the  Academic  Senate  of  the  Academy  of  Berlin.  Medal 
at  Paris,  1855.  Pupil  of  his  father  and  the  Academy  of  Berlin, 
where  he  obtained  several  prizes,  but  failed  of  that  which  would  take 
him  to  Rome.  He  also  studied  at  Dusseldorf  under  Hildebrandt  and 
Wilhelm  Schadow.  At  Berlin  in  1844  he  gained  the  grand  prize, 
and  went  to  Rome  in  1845,  where  he  remained  three  years.  He  there 
painted  the  "  Capitulation  of  Calais,"  which  was  much  admired,  and 
gained  him  his  election  to  the  Academy  of  Berlin.  His  best  works  are, 
"  Frederick  the  Great  after  the  Battle  of  Kallin,"  at  the  Museum  of 
Leipsic  ;  "  Jephthah's  Daughter,"  in  the  Museum  of  Konigsberg  ;  "  The 
Consecration  of  the  Church  of  St.  Sophia  at  Constantinople  by  the 
Emperor  Justinian"  (1853),  a  grand  mural  painting  at  the  Museum  of 
Berlin  ;  and  "Cromwell  at  the  Death-Bed  of  his  Daughter"  (1864), 
in  the  Museum  of  Cologne.  At  the  Exposition  in  the  Royal  Academy 
at  Berlin,  in  1876,  he  exhibited  "  The  Flight  "  and  two  portraits  ;  and 
to  Paris,  in  1878,  he  sent  a  portrait  of  Dr.  Becker. 

"Schrader  is,  moreover,  one  of  the  best  painters  of  genre  and  of  portraits  of  our  time, 
and  his  portraits  of  Alexander  von  Humboldt  and  Peter  de  Cornelius  may  be  mentioned, 
above  all,  as  veritable  chefs-d'oeuvre.  His  principal  qualities  are  a  profound  science  of 
colors,  an  inimitable  talent  in  the  drawing  of  the  nude  and  of  draperies,  and  a  consum- 
mate knowledge  of  the  costumes  of  all  times."  —  Larousse,  Dictionnaire  Universel. 

Schreyer,  Adolphe.  (Ger.)  Born  at  Frankfort-on-the-Main, 
1828.  Medals  at  Paris,  1864,  '65,  and  '67  ;  at  Vienna,  in  1873  ;  at 
Brussels,  in  1863  ;  and  the  Cross  of  the  Order  of  Leopold  in  1864.  In 
1862  he  was  made  Painter  to  the  Court  of  the  Grand  Duke  of  Meck- 
lenbourg-Schwerin,  and  is  Member  of  the  Academies  of  Antwerp  and 
Rotterdam,  and  Honorary  Member  of  the  Deutsches  Nochstift.  Be- 
longing to  a  distinguished  family,  this  artist  received  every  advantage 
that  travel  and  instruction  can  give.  In  1855  he  followed  the  regi- 
ment commanded  by  Prince  Taxis  to  the  Crimea.  He  has  visited 
Algiers,  and  other  Eastern  countries,  as  well  as  all  the  principal  coun- 
tries of  Europe,  and  everywhere  has  diligently  studied  his  subjects. 
Among  his  best  works  are  the  "  Battle  of  Waghensel,"  belonging  to 
the  Duke  of  Mecklenbourg  ;  the  "  Battle  of  Comorn,"  belonging  to  the 
Count  of  Bouilly-Mensdorf ;  "  An  Attack  of  Cavalry,"  belonging  to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  245 


M.  Ravenet  of  Berlin ;  the  "  Prince  of  Taxis  wounded  at  Temeswar," 
belonging  to  the  family  of  the  Prince.  His  "  Horses  of  the  Irregular 
Cossacks,"  snow-scene  (1864),  and  a  "  Charge  of  the  Artillery  of  the 
Imperial  Guard  in  the  Crimea  "  (1865)  are  in  the  Luxembourg.  At 
the  Johnston  sale,  New  York,  1876,  "  Wallachian  Peasants  crossing  a 
Ford  "  (21  by  42)  sold  for  $  2,700  ;  and  "  Arabs  Retreating  "  (45  by 
69)  for  $  6,700.  At  the  Latham  sale,  New  York,  1878,  "  Traveling  in 
Russia  "  (18  by  42)  sold  for  $  2,150  ;  "  A  Wet  Day  in  Moldavia"  (18 
by  42)  for  $  2,050,  and  a  "  Wallachian  Stable  on  Fire  "  (47  by  79)  for 
$  3,500.  "  The  Watering-Place  "  is  in  the  Corcoran  Gallery  at  Wash- 
ington.  At  the  Museum  of  Fine  Arts  in  Boston  was  the  "  Flight  of 
the  Standard-Bearer,"  belonging  to  John  C.  Phillips.  At  the  Walters 
Gallery,  Baltimore,  are  the  "  Winter  Scene  in  Poland  "  and  an  "  Arab 
Horseman."  A  fine  picture  called  "  Winter  "  is  in  the  collection  of 
Mrs.  H.  E.  Maynard  of  Boston,  and  "  Coming  to  Camp  "  belongs  to 
Mr.  Frank  R.  Kimball  of  the  same  city.  It  is  a  very  fine  specimen 
of  Schreyer's  work,  and  is  a  Wallachian  winter  scene. 

"  Schreyer  joins  to  a  grand  and  bold  conception  a  profoundly  poetic  sentiment ;  this 
makes  him  both  German  and  French.  His  manner,  as  well  as  his  talent,  has  two  na- 
tures ;  it  recalls  both  Delacroix  and  Fromentin.  His  color  is  a  happy  mingling  of  the 
dreamy  tones  of  the  one  and  the  powerful  colors  of  the  other.  And  one  should  above  all 
admire  it  for  the  incontestable  originality  thus  manifested  in  this  mingling,  —  a  quality 
one  does  not  look  for  in  a  man  whose  character  and  manner  have  different  aspects.  All 
that  I  say  of  the  color  of  Schreyer  may  be  also  applied  to  his  drawing.  His  lines,  clear 
and  vague  at  the  same  time,  are,  in  spite  of  these  two  distinct  qualities,  strangely  per- 
sonal with  this  artist.  From  all  this  the  great  talent  of  Schreyer  seems  like  something 
much  more  than  talent."  —  Courrier  Artistique,  February,  1864. 

In  the  "  Moniteur  Universel,"  February  18,  1864,  Theophile  Gau- 
tier  praised  in  the  most  exalted  terms  the  works  of  this  artist,  and 
compared  him  to  Delacroix,  Decamps,  and  Fromentin,  saying  at  the 
same  time  that  he  was  an  imitator  of  no  one.  The  following  is  a 
translation  of  a  charming  letter  to  Schreyer  from  the  same  critic  :  — 

"  My  dear  Schreyer,  —  I  came  with  Hert  and  Martinet  to  see  you.  You  are  gone  out, 
but  your  genius  remains  at  home.  We  have  admired  this  marvelous  picture  of  '  Chasse- 
Neige,'  —  so  true,  so  picturesque,  so  dramatic.  I  am  egotistic  enough  to  be  a  good  judge 
in  this  matter.  I  have  been  myself  enveloped  in  a  snowy  whirlwind  near  Kowno,  and 
your  canvas  makes  me  shiver  ;  I  seem  to  be  still  in  Russia.  We  hope  that  you  will  be 
willing  to  send  this  masterpiece  to  our  exposition.  I  dare  not  believe  in  such  a  happi- 
ness, and  I  thank  you  in  my  name  and  in  the  name  of  the  Societe  nationale  des  Beaux- 
Arts.  Your  admirer  and  President, 

"  Thj&ophile  Gatjtier.,> 
Schrcedter,  Adolf.  (Ger.)  Born  at  Schwedt  (1805  -  1875).  Mem- 
ber of  the  Academy  of  Berlin.  Professor  of  the  Polytechnic  School 
at  Carlsruhe.  Pupil  of  the  Diisseldorf  Academy.  His  pictures  were 
genre  subjects,  with  a  comic  element,  such  as  scenes  from  "Don 
Quixote,"  "Falstaff,"  etc,  «  The  Wine-Taster,"  "The  May  Tree,"  and 
others.  At  the  Wolfe  sale,  New  York,  1863,  "  Falstaff  thrown  into 
the  Thames  "  sold  for  $  975. 

Schulz,  Moritz.    (Ger.)    Born  in  Leobschiitz,  1825.  Honorary 


246     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Member  of  the  Polytechnic  School  at  Rotterdam.  Studied  at  the 
Academy  of  Berlin.  Was  in  Rome  from  1854  to  '70,  when  he  estab- 
lished himself  in  Berlin.  One  of  the  bas-reliefs  on  the  column  of 
Victory  is  by  Schulz,  and  he  has  executed  two  groups  illustrative 
of  Instruction  in  the  Arts,  which  are  in  the  National  Gallery  at  Ber- 
lin. At  Berlin,  in  1871,  he  exhibited  "Cupid  and  Psyche,"  "Love's 
Dream,"  and  "  Rape  of  Ganymede  ";  in  1876,  "  Night  as  a  Charity" 
and  "  Bacchantes,  a  Faun,  etc." 

Schutzenberger,  Louis-Frederic.  (Fr.)  Born  at  Strasbourg. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gleyre.  At  the  Salon 
of  1877  he  exhibited,  "  The  Harvest,  —  Souvenir  of  Italy  "  and  "  Diana 
at  the  Bath";  in  1876,  a  portrait  and  "Joan  of  Arc  hearing  her 
Voices";  in  1875,  "The  Seven  Capital  Sins,"  "The  Flight  of  Nero," 
and  "  A  Marsh  in  the  Gombo  of  Pisa,"  etc.  At  the  Luxembourg  are 
"Terpsichore"  (1861)  and  "Centaurs  hunting  a  Wild  Boar"  (1864). 

Schwarz,  Albert.  (Ger.)  Of  Berlin.  Medal  at  Philadelphia, 
where  he  exhibited  "  Broken  Flowers." 

Schweinitz,  Rudolf.  (Ger.)  Born  at  Charlottenburg,  1839. 
Studied  at  the  Berlin  Academy  under  Professor  Schievelbein.  In  1865 
he  visited  Paris  and  Italy,  and  has  also  traveled  in  the  North  of  Eu- 
rope. Among  his  works  are  the  Soldiers'  Monument  for  Gera,  eight 
colossal  groups  for  the  Royal  Bridge  at  Berlin,  monument  to  Frederick 
William  III.  at  Cologne,  nine  reliefs  for  the  balcony  of  the  Hotel  de 
Ville  at  Berlin,  and  a  group,  the  "  Fine  Arts,"  in  the  National  Gallery 
of  that  city. 

Schwind,  Moritz  Ludwig  (Ritter  von).  (Ger.)  Born  at  Vienna 
(1804-1871).  Professor  at  the  Academy  of  Munich.  Pupil  of  Schnorr 
and  Cornelius.  This  painter  executed  many  frescos  which  brought 
him  reputation.  At  the  National  Gallery,  Berlin,  is  his  "  Rose,  a 
Wedding  Scene."  At  the  Leipsic  Museum  is  a  cartoon,  "  Symphony," 
which  is  a  representation  of  various  scenes  in  the  love  of  a  young 
couple;  they  are  called  "Andante,"  "Allegretto,"  etc.,  like  parts  of  a 
symphony  in  music,  —  several  portraits  are  introduced.  Among  his 
other  works  are  scenes  from  "  Cinderella,"  the  "  War  of  the  Singers  at 
Wartburg,"  etc. 

"  That  original  and  genial  artist,  Maurice  von  Schwind  of  Munich,  has  just  exhibited 
his  last  completed  work,  —  the  story  of  the  water-nymph  Melusina.  Like  his  '  Cin- 
derella '  and  '  The  Seven  Ravens,'  known  to  English  readers  by  the  fairy-tale  of  Ander- 
sen, the  drawing  is  in  water-color,  about  two  feet  high,  and  divided  into  a  series  of 
compartments,  six  or  eight  or  more  feet  long.  Schwind's  particular  taste  has  always 
led  him  to  choose  old  German  tales  of  fairy  or  of  folk  lore  for  the  subject  of  his 
pictures,  and,  so  completely  does  he  identify  himself  with  the  story,  that  all  those 

representations  of  his  are  surrounded  by  an  atmosphere  wholly  their  own  The 

delicacy  with  which  Herr  von  Schwind  manages  such  subjects  is  decidedly  a  marked 
feature  in  all  his  compositions.  Yet  everything  is  natural,  and  seemingly  as  if  it  could 
not  possibly  have  been  otherwise."  —  Art  Journal,  May  7,  1870. 

"  Schwind  was  taken  away  from  all  other  interests  of  life  by  his  devotion  to  his  art 
Art  permeated  his  whole  being,  and  he  ever  strove  for  perfection.    His  desire  to  create 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  247 


never  allowed  him  to  rest.  His  poetic  conception  enabled  him  to  render  the  most 
ordinary  and  prosaic  scenes  attractive.  Schwind's  peculiarity  can  only  be  comprehended 
by  seeing  his  representations  of  the  antique  and  of  old  German  art.  A  rich  vein  of 
humor  runs  through  all  his  work.  There  is  and  has  been,  perhaps,  no  artist  to  whom 
the  entire  beauty  of  the  antique  has  been  more  fully  revealed,  but  while  he  has  been  so 
utterly  occupied  with  the  beauties  of  the  past,  he  seems  never  to  have  been  oblivious  to 
the  immense  gap  which  intervenes  between  the  old  and  the  new.  His  understanding  of 
modern,  in  contradistinction  to  classic,  art,  was  plainly  shown  by  Schwind  in  his  prac- 
tice of  his  art,  and  he  was  not  the  man  to  lessen  his  individuality  by  studying  and 
copying  the  old  masters  ;  he  used  the  knowledge  gained  from  them  in  his  own  manner. 
So,  in  1833,  he  went  often  to  the  Sistine  and  observed  the  works  of  Michael  Angelo,  and 
then,  as  he  himself  said,  returned  home  to  go  on  with  his  Ritter  Kurt.  His  use  of 
Grecian  myths  was  not  incompatible  with  this,  for  he  copied  not  the  dead  academical 
forms,  but  he  brought  them  down  to  the  minds  of  his  time  by  giving  them  the  warmth 
of  his  own  imagination."  —  Carl  Albert  Regnet,  Zeitschriftfiir  bildende  Knnst,  1872. 

Scifoni,  Anatolio.  (Ital.)  Of  Rome.  Medal  at  Philadelphia, 
where  he  exhibited  "  Offerings  to  the  Lares  "  and  "  Preparations  for  a 
Feast  at  Pompeii,"  which  last  was  especially  commended  in  the  re- 
port of  Mr.  Weir. 

Scott,  Sir  George  Gilbert,  R.  A.  (Brit.)  (1811-1878.)  Soii 
of  the  Bible  commentator.  Was  placed  at  an  early  age  in  an  archie 
tect's  office,  and  designed  the  Martyrs'  Memorial  in  Oxford  in  1842. 
Later,  he  furnished  designs  for  churches  in  Camberwell,  Croydon, 
Leeds,  Liverpool,  Doncaster,  and  elsewhere.  In  1855  he  obtained  a 
medal  of  the  second  class  for  designs  exhibited  in  the  Paris  Exposition 
of  that  year.  In  1861  he  was  elected  Academician  of  the  Royai 
Academy  in  London,  sending  "  Views  illustrative  of  Gothic  Designs  * 
of  Government  Offices."  His  drawings  of  the  Memorial  Window  to 
the  Prince  Consort  for  the  Chapel  Royal,  Windsor,  were  at  the  Royal 
Academy  in  1862  ;  view  of  the  New  Leeds  Infirmary,  in  1863  ;  the 
Midland  Railway  terminus  and  hotel,  in  1865  ;  a  new  building  for 
the  University  of  Glasgow,  in  1869.  In  1873  he  received  the  honor 
of  Knighthood,  contributing  the  same  year,  to  the  Royal  Academy, 
designs  for  the  Cathedral  of  St.  Mary's,  Edinburgh.  In  1875  he  ex- 
hibited Premiated  Designs  for  the  new  German  Parliament  House, 
prepared  in  conjunction  with  his  son,  J.  0.  Scott. 

"Scott's  merit  as  a  designer  lies  rather  in  the  whole  than  in  the  details.  Carefully 
and  correctly  drawn,  the  main  outlines  of  his  more  important  buildings  are  sometimes 
satisfactory.  But  a  nearer  approach  reveals  that  the  ornament  is  cold  and  unimagina- 
tive ;  compared  with  what  the  higher  Gothic  demands,  it  is  dead  decoration."  —  Pal- 
grave's  Essays  on  Art. 

Scott,  Julian,  A.  N.  A.  (Am.)  Born  in  the  State  of  Vermont. 
During  the  American  Civil  War  he  was  attached  to  a  Vermont 
regiment,  where  his  rough  charcoal  sketches  of  war-scenes  attracted 
the  attention  of  art-lovers  in  the  army.  He  opened  a  studio  in  New 
York  at  the  close  of  the  war,  and  began  to  exhibit  at  the  National 
Academy  in  1870,  sending  "  Gen.  0.  B.  Wilcox  in  Libby  Prison  " 
(belonging  to  William  T.  Blodgett)  and  "  The  Rear-Guard  at  White 
Oak  Swamp "  (the  property  of  the  Union  League  Club).    He  was 


248     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


elected  an  Associate  of  the  National  Academy  in  1871.  In  1873  he 
exhibited  "  Complacency  w  (belonging  to  William  E.  Dodge,  Jr.)  ;  in 
1874,  "Prison  Life"  (belonging  to  John  Rogers),  "Near  the  Out- 
posts" (belonging  to  Judge  J.  R,  Brady),  "Cavalry  Charge  near 
Ashby's  Gap,  Va.,  in  1862  "  (to  Col.  Joel  B.  Erhardt),  and  «  On  Board 
the  Hartford  "  (belonging  to  Loyall  Farragut)  ;  in  1875,  "  Old  Rec- 
ords" (belonging  to  William  E.  Dodge)  ;  in  1876,  "  The  Duel  of  Burr 
and  Hamilton  "  and  "  The  Capture  of  Andre  "  (belonging  to  J.  Abner 
Harper),  and  "  A  Camp  Raid  "  (the  property  of  Fletcher  Harper,  Jr.)  ; 
in  1877,  "Reserves  awaiting  Orders"  (belonging  to  R.  B.  Livermore) ; 
in  1878,  "  Meditation "  (belonging  to  J.  W.  Casilear)  and  "  Poke  o' 
Moonshine."  To  the  Water-Color  Exhibition  he  has  sent  "  Changing 
Guard,  1776,"  "New  England  Turkey-Shoot "  (belonging  to  N.  T. 
Bailey),  and  "On  Guard,  1861." 
[No  response  to  circular.] 

Scott,  William  Bell.  (Brit)  (1811-1890.)  Painter  and  Etcher. 
Educated  in  Edinburgh,  but  went  to  London  in  his  early  life,  exhib- 
iting in  Royal  Academy,  and  elsewhere,  for  many  years.  Was  director 
of  the  Newcastle  Government  School  of  Art,  and  author  of  eight 
large  pictures  illustrating  the  History  of  North umberlandshire,  which 
are  now  in  Wallington  Hall.  Published  several  volumes  of  poems  ; 
and  his  Autobiography,  an  interesting  work,  appeared  after  his  death. 
His  best-known  picture  is  "  The  Eve  of  the  Deluge,"  exhibited  in  1865. 

Seel,  Adolf.  (Ger.)  Born  at  Wiesbaden,  1829.  Member  of  the 
Royal  Society  of  Water-Color  Artists  of  Belgium.  Studied  at  Diissel- 
dorf  Academy,  and  was  a  disciple  of  K.  Sohn.  Resided  in  Paris  for 
two  years,  and  passed  two  other  years  in  Italy  ;  traveled  also  in  Spain, 
Portugal,  Africa,  and  the  Orient.  On  these  journeys  he  made  many 
sketches.  At  the  National  Gallery,  Berlin,  is  his  "Arabian  Court- 
Yard  in  Cairo,"  which  was  sent  to  the  Paris  Exposition  of  1878. 

Sege',  Alexandre.  (Fr.)  Born  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Flers  and  Cogniet.  Painter  of  landscapes.  His 
"  Oaks  of  Kertregonnec "  is  in  the  Luxembourg.  To  the  Salon  of 
1878  he  sent  "The  Green  Road"  (Seine  et  Marne),  belonging  to 
M.  Hede. 

Seiffert,  Karl  Friedrich.  (Ger.)  Born  in  1809.  Pupil  of  the 
Berlin  Academy  and  of  Biermann.  He  paints  landscapes  and  por- 
traits. He  has  spent  some  time  in  Italy,  but  lives  now  in  Berlin. 
His  picture  of  the  "  Blue  Grotto  of  Capri  "is  in  the  Berlin  National 
Gallery. 

Sell,  Christian.  (Dane.)  Born  at  Altona,  1831.  Studied  at  Diis- 
seldorf  Academy.  He  is  a  disciple  of  Th.  Hildebrandt  and  W.  von 
Schadow.  Traveled  in  Germany  and  Belgium,  and  followed  the 
Prussian  army  in  the  wars  of  1866  and  '70.  Paints  military  genre 
subjects  and  scenes  from  the  older  German  wars.    In  the  National 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  249 


Gallery  at  Berlin  is  his  "  Scene  at  the  Battle  of  Koniggratz."  At  the 
Leipsic  Museum  is  his  "  Soldiers  in  the  Thirty- Years'  War  dividing 
Booty."    [Died,  1883.] 

Sellier,  Charles  Auguste.  (Fr.)  Born  at  Nancy.  Prix  de  Rome 
in  1857.  Medals  in  1865  and  '72.  Pupil  of  Leborne  and  Cogniet. 
At  the  Salon  of  1875  he  exhibited  "  The  Return  of  the  Mendicant 
Friar"  and  "Christ  in  the  Tomb  ";  in  1872,  "  A  Nereid."  This  artist 
paints  many  portraits,  two  being  at  the  Salon  of  1878.  [Died,  1882.] 

Sellstedt,  Lars  Gustaf,  N.  A.  (Am.)  Born  in  Sweden,  1819. 
Began  life  as  a  sailor,  following  the  sea  for  some  years.  In  1842  he 
settled  in  Buffalo,  N.  Y.,  where  the  better  part  of  his  professional  life 
has  been  spent.  Here  he  began  to  study  art  without  a  master,  and 
made  portraiture  his  specialty.  In  1846  he  met  Thomas  Le  Clear,  and 
profited  much  by  the  association.  In  1858  he  began  to  exhibit  in  the 
National  Academy,  New  York.  In  1859  he  sent  the  head  of  a  Jewish 
Rabbi,  which  attracted  some  attention.  In  1871,  when  he  was  elected 
an  Associate  of  the  National  Academy,  he  contributed  his  own  por- 
trait, which,  is  now  owned  by  the  Buffalo  Fine  Art  Academy.  He 
exhibited  a  portrait  of  William  G.  Fargo  in  1874,  and  was  elected 
Academician.  From  1862  to  '76  he  was  Corresponding  Secretary  and 
Superintendent  of  the  Buffalo  Fine  Art  Academy,  an  institution  which, 
with  Le  Clear,  William  H.  Beard,  and  others,  he  was  instrumental 
in  founding.  He  was  its  President  in  1876  and  '77,  and,  from  prefer- 
ence became  again  its  Superintendent  in  1878.  Among  Mr.  Sellstedt's 
portraits  may  be  mentioned  those  of  Judge  Verplanck  and  Mrs.  Fargo 
(belonging  to  William  G.  Fargo),  Millard  Fillmore  (belonging  to  the 
Buffalo  Club),  E.  G.  Spaulding  and  wife,  Dr.  William  Shelton,  George 
W.  Clinton,  LL.  D.,  in  the  Natural  Science  Rooms,  Buffalo,  and 
others,  including  eleven  "  kit  kat  "  portraits  of  distinguished  citizens 
of  Buffalo,  —  mayors,  judges,  lawyers,  etc.,  in  the  City  Hall  of  that 
city.  His  "  Abandoned,"  a  marine  picture,  is  in  the  possession  of 
David  Gray  of  Buffalo,  and  other  genre  and  marine  pictures  of  more 
or  less  importance  are  owned  in  Buffalo  and  elsewhere. 

"  One  of  the  very  best  portraits  of  the  year  is  that  of  Mr.  L.  G.  Sellstedt,  painted  by 
himself.  It  is  not  possible  to  conceive  a  more  unaffected  piece  of  realism."  —  New  York 
Tribune,  April,  1871. 

"  The  half-length  of  an  artist  —  probably  himself  —  by  Mr.  Sellstedt  of  Buffalo,  turn- 
ing from  his  easel  to  speak  to  a  friend  or  to  look  at  a  sitter,  is  the  finest  portrait  in  this 
year's  Exhibition ;  gravely  strong  in  color,  while  the  head  is  painted  with  wonderful 
roundness  and  reality."  —  New  York  Leader,  April,  1871. 

Semper,  Gottfried.  (Ger.)  Born  at  Hamburg,  1804.  Professor 
of  the  Academy  at  Dresden.  Member  of  the  Academy  of  Marlborough 
House.  Professor  of  Architecture  at  Zurich.  Medal  at  Paris,  1867. 
This  architect  studied  at  Munich  and  Paris,  and  visited  Italy,  Sicily, 
and  Greece.  He  acquired  at  Dresden  a  great  reputation  as  an  instruc- 
tor, and  was  charged  with  the  decoration  of  the  antique  cabinet  of  the 
Royal  Museum.  He  also  superintended  the  construction  of  the  Hos- 
11  * 


250     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


pitalof  the  Ladies  of  Saint- Maternite,  and  in  1839,  by  order  of  the 
King,  constructed  the  new  theater,  which  proved  a  great  success.  He 
was  also  architect  of  the  new  synagogue,  the  Villa  Oppenheim,  and 
the  new  Royal  Museum,  commenced  in  1847,  which  he  conducted 
only  to  the  first  floor.  It  was  finished  after  his  designs,  with  the  ex- 
ception of  the  cupola.  He  reconstructed  the  church  of  St.  Nicolas 
at  Hamburg.  On  account  of  political  troubles  he  left  Germany  for 
England  in  1848,  and  soon  became  a  member  of  the  Academy  of 
Marlborough  House.  In  1856  he  \ras  called  to  Zurich,  where  he  has 
been  Professor  of  Architecture  and  Director  of  the  School  of  Archi- 
tecture of  the  Polytechnic  Academy  of  the  Confederation.  [Died  at 
Home,  May,  1879.J 

Settegast,  Josef.  (Ger.)  Born  at  Coblenz,  1813.  Studied  in  Diis- 
seldorf  and  Frankfort,  and  went  to  Rome.  Upon  his  return  to  Ger- 
many he  executed  frescos  in  the  Maximilian  Church  at  Diisseldorf, 
which  established  his  reputation  as  a  painter. 

Shalders,  George.  (Brit.)  (1825-1873.)  Landscape-painter. 
He  introduced  animals  into  his  pictures,  and  executed  many  pictures 
of  the  scenery  of  Surrey  and  Hampshire,  besides  views  in  Ireland. 

Shapleigh,  F.  H.  (Am.)  Born  in  Boston,  1842.  He  has  spent 
his  professional  life  in  his  native  city,  and  was  elected  a  member  of 
the  Boston  Art  Club  in  1874,  but  received  his  art  education  in  the 
studio  of  Lambinet  in  Paris.  A  landscape-painter.  Among  his  more 
important  pictures  are,  "  Venice  "  (belonging  to  A.  F.  Harvey,  Boston), 
French  landscape  (belonging  to  J.  C.  Howe),  "  Cathedral  Rocks  "  (to 
C.  p.  Foster),  "Mount  Washington"  (to  W.  F.  Robinson),  "  Yo- 
semite  Valley  "  (in  the  possession  of  Henry  C.  Bacon,  San  Francisco), 
"  Mirror  Lake  "  (owned  by  David  Dudley  Field,  New  York),  "  Co- 
hasset  Harbor  "  (owned  by  Martin  Bates),  etc. 

"  Shapleigh  is  engaged  on  a  winter  subject,  already  nearly  finished,  the  composition 

of  which  is  novel  and  decidedly  pleasing  The  snow  is  represented  with  great 

fidelity,  and  the  cold  atmosphere  of  winter,  the  dark  and  brittle  foliage,  and  so  forth, 
are  also  rendered  capitally."  —  Boston  Post,  March  14,  1878. 

Shattuck,  Aaron  D.,  N.  A.  (Am.)  Born  in  the  State  of  New 
Hampshire,  in  1832.  In  1850  he  entered  the  studio  of  Alexander 
Ransom  in  Boston,  and  painted  portraits.  Later,  he  became  a  pupil 
of  the  National  Academy  of  New  York,  settling  finally  in  that  city. 
He  first  exhibited,  at  the  National  Academy  in  1856,  a  study  of  wild- 
flowers  and  grasses.  In  1861  he  was  elected  Academician.  Among 
his  earlier  works  are,  "  Glimpses  of  Lake  Champlain,"  "  Autumnal 
View  of  Androscoggin  Scenery,"  "  Sunset  on  the  Lake,"  and  others. 
In  1869  he  sent  to  the  National  Academy,  "  Hillside,  Lake  Cham- 
plain"  and  "  Morning  Light"  ;  in  1870,  "  Lake  Champlain"  and  "  A 
Study  of  Rocks"  ;  in  1871,  "The  New  England  Farm"  and  "A 
Group  of  Sheep";  in  1872,  "White  Hills  in  October"  ;  in  1873, 
"Sheep"  ;  in  1874,  "Sheep  and  Cattle  in  Landscape"  (belonging  to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  251 


J.  H.  Sherwood);  in  1875,  "The  Old  Homestead"  and  "Haying- 
Time";  in  1876,  "The  Road  to  Simsbury,  Ct."  and  "Autumn 
near  Stockbridge,  Mass."  ;  in  1877,  "  Granby  Pastures  "  and  "  Cattle 
Grazing."  His  "  Stockbridge  Scenery  "  (25  by  42)  brought  $  660  at 
the  Johnston  sale  in  1876. 

"  Sliattuck  is  exact,  graceful,  and  often  effective  ;  there  is  a  true  pastoral  vein  in  him. 
His  best  cattle  and  water  scenes,  with  meadows  and  trees,  are  eloquent  of  repose  and  of 
nature."  —  Tuckerman's  Book  of  the  Artists. 

Shaw,  Richard  Norman,  R.  A.  (Brit)  Student  of  the  Royal 
Academy.  Received  silver  medal  for  architectural  drawings  in  1852, 
gold  medal  in  1853,  and  traveling  studentship  in  1854.  He  has  fur- 
nished designs  for  many  public  and  private  buildings  throughout 
Great  Britain,  turning  his  attention  chiefly  to  country-houses.  He 
was  elected  an  Associate  of  the  Royal  Academy  in  1872,  and  Acad- 
emician in  1878. 

Shaw,  Annie  C.  (Am.)  Born  at  Troy,  N.  Y.,  1852.  She  has 
lived  for  some  years  in  Chicago,  studying  art  under  H.  C.  Ford  of 
that  city.  She  was  elected  an  Associate  of  the  Chicago  Academy  of 
Design  in  1873,  and  Academician  in  1876,  the  first  woman  upon 
whom  the  distinction  has  been  conferred.  Among  her  paintings  are, 
"  On  the  Calumet "  (1874),  belonging  to  J.  H.  Dole  ;  "  Willow  Island  " 
(1875),  belonging  to  C.  L.  Hutchinson  ;  "  Keene  Valley,  N.  Y." 
(1875),  to  A.  A.  Munger  ;  "  Ebb-Tide  on  the  Coast  of  Maine"  (1876), 
to  William  Butterfield ;  "Head  of  a  Jersey  Bull "  (1877),  to  Mrs. 
Jenny  F.  Kempton  ;  "  Returning  from  the  Fair  "  (1878),  exhibited  in 
Chicago,  Boston,  New  York,  and  elsewhere.  Her  "  Illinois  Prairie  " 
was  at  the  Centennial  Exhibition  at  Philadelphia  in  1876. 

"  Annie  C.  Shaw  has  steadily  advanced  in  the  profession,  and  has  achieved  decided 
success  in  painting  landscapes,  having  studied  from  nature  in  successive  summers  at 
Mackinac,  the  Adirondacks,  the  Rock  River  region,  the  coast  of  Maine,  and  in  the  quiet 

nooks  of  Massachusetts  Her  latest  painting  is  a  study  from  life  of  an  Alderney 

bull,  which  is  a  marked  departure  from  her  previous  attempts,  and  is  faithful  to  nature. 
It  is  a  bold,  strong  picture,  good  in  form,  and  filled  with  vigorous  characteristics  of 
animal  life. "  —  Milwaukee  Evening  Wisconsin,  1877. 

"  Annie  C.  Shaw  has  finished  her  upright  landscape,  of  medium  size,  combining  the 
best  results  of  her  studies  for  many  years.  It  bears  the  title  '  Returning  from  the  Fair,' 
from  the  group  of  Alderney  cattle  in  the  road  curving  through  the  forest.  The  eye  of 
the  spectator  is  struck  with  the  rich  mass  of  foliage  passing  from  the  light  green  of  the 
birches  in  the  foreground,  where  the  light  breaks  through,  to  the  dark  green  of  the  dense 
forest,  shading  into  the  brownish  tints  of  the  early  September-tinged  leaves.  Farther 
on,  the  eye  is  carried  back  through  a  beautiful  vista  formed  by  the  road  leading  through 
the  center  of  the  picture,  giving  a  fine  perspective  and  distance  through  a  leafy  archway 
of  elms  and  other  forest-trees,  that  gracefully  mingle  their  branches  overhead,  through 
which  one  catches  a  glimpse  of  deep-blue  sky.  As  the  eye  follows  this  roadway  to  its 
distant  portion,  the  sun  lights  up  the  sky,  tingeing  with  a  mellow  light  the  group  of 
small  trees  and  willows,  contrasting  beautifully  with  the  almost  somber  tones  of  the 
dense  forest  in  the  middle  distance."  —  Chicago  Times,  April,  1878. 

Shirlaw,  Walter.  (Am.)  Born  in  Paisley,  Scotland,  1837.  He 
was  taken  to  America  in  1840,  and  has  spent  his  professional 


252     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


life  in  Chicago,  Munich  (Bavaria),  and  New  York,  studying  in 
Munich  for  some  years  under  Professors  Raab,  Wagner,  Ramberg, 
and  Lindenschmit,  eminent  men  of  the  various  schools  there.  He 
was  elected  Academician  of  the  Chicago  Academy  of  Design  in  1868, 
Associate  of  the  National  Academy,  New  York,  in  1878,  and  is  at 
present  (1884)  a  professor  in  the  Art  Students'  League  in  the  latter 
city.  His  "  Toning  of  the  Bell,"  a  number  of  "  Heads,"  and  minor 
works  are  owned  in  Chicago.  To  the  Society  of  American  Artists, 
of  which  he  was  one  of  the  original  members  and  first  President,  he 
sent,  in  1878,  «  Good  Morning,"  "  The  Young  Patrician,"  "  Sleep," 
and  a  study  of  a  "  Head."  To  the  National  Academy,  in  1877,  he 
sent  "  Sheep- Shearing  in  the  Bavarian  Highlands  "  ;  in  1878,  "  The 
Bather  "  and  a  portrait. 

His  "  Toning  of  the  Bell"  and  "  Feeding  the  Poultry  "  were  at  the 
Centennial  Exhibition  in  Philadelphia  in  1876  ;  "  Sheep- Shearing  in 
the  Bavarian  Highlands,"  at  the  Paris  Exposition  of  1878. 

"  Mr.  Shirlaw,  a  student  of  Munich,  exhibited  two  exceptionally  strong  and  admirable 
works,  evincing  remarkably  dexterous  powers  of  manipulation."  — Prof.  Weir's  Official 
Report  of  the  American  Centennial  Exhibition  of  1876. 

Shumway,  Henry  C,  N.  A.  (Am.)  Born  in  Middletown,  Ct., 
1807.  He  settled  in  New  York  at  an  early  age,  and  during  his  long 
professional  career  has  been  a  resident  of  that  city.  He  was  a  stu- 
dent of  the  American  Academy  of  Fine  Arts  in  1828  and  '29,  and 
one  of  the  early  members  of  the  National  Academy  of  Design,  having 
been  elected  Academician  in  1832.  In  1829  he  began  his  career  as 
an  artist  by  painting  on  ivory,  exhibiting  his  work  annually  at  the 
National  Academy  for  many  years.  As  a  portrait-painter  he  was 
popular  and  successful,  and  has  numbered  among  his  sitters  many 
prominent  citizens  of  New  York  and  other  places.  In  1838  he 
was  commissioned  to  go  to  Washington,  D.  C,  to  paint  Henry  Clay, 
the  picture  being  owned  at  present  by  Mrs.  Gideon  Lee  of  New 
York.    [Died,  1884.] 

Shurtleff,  R.  M.,  A.  N.  A.  (Am.)  Born  at  Rindge,  N.  H.  After 
studying  drawing  at  the  Lowell  Institute,  Boston,  and  at  the  National 
Academy,  New  York,  he  settled  in  the  latter  city,  where  most  of  his 
professional  life  has  been  spent.  Among  his  pictures  are,  "  A  Race  for 
Life,"  "  The  American  Panther,"  "  The  Still  Hunter"  (belonging  to 
George  Dwight,  Jr.,  of  Springfield,  Mass.),  and  the  "  Wol-f  at  the 
Door,"  owned  in  TJtica,  N.  Y. 

"  *  A  Race  for  Life '  [N.  A.,  1877]  is  the  most  remarkable  animal  picture  in  the  Exhibi- 
tion. It  will  surprise  every  one  who  overlooked  the  artist's  'Panther'  of  last  year, 
and  who  only  remember  him  by  his  landscapes.  Scene  and  subject  are  equally  grim 
and  terrific.  A  weird  winter  forest ;  gleams  of  a  coppery  sunset  burning  low  behind  the 
trees  ;  prints  of  flying  feet  on  the  crisp,  livid  snow  ;  and  a  horde  of  ravenous  gray  wolves 
dashing  forward  in  an  animal  frenzy  of  pursuit,  the  foremost  seeming  to  spring  bodily 
from  the  canvas.  ....  The.  open,  slavering  mouths,  the  swift  vigor  of  the  legs  and 
paws,  the  hair  bristling  into  knotty  points  and  rising  along  the  back,  are  all  reprc- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  253 


sented  with  a  power  which  makes  the  spectator's  flesh  creep.  It  is  rather  a  ghastly  sub- 
ject which  Mr.  Shurtleff  has  chosen,  but  he  has  succeeded  in  giving  it  the  necessary 
tragic  dignity."  —  New  York  Tribune,  April  28,  1878. 

"Mr.  Shurtleff  has  executed  a  grimly  humorous  painting,  '  The  Wolf  at  the  Door,' 
representing  an  open  studio  door,  with  the  easel  and  hand  of  the  artist  just  dimly 
visible  within,  and  hungrily  waiting  outside  a  lone  gaunt  wolf,  evidently  just  at  the  point 
of  starvation  or  he  would  not  call  at  that  unpromising  abode."  —  Springfield  Republican. 

Siegert,  August.  (Ger.)  Born  at  Neuwied,  1820.  Studied  at 
Diisseldorf  and  paints  historical  subjects,  among  which  are,  "  The  En- 
trance of  Luther  into  Worms,"  "  Frederick  defending  his  Son  pressed 
upon  by  the  Soldiers  of  the  Emperor,"  etc.  He  also  paints  genre  scenes, 
such  as  "  Hospitality,"  "  Children  in  an  Artist's  Studio,"  and  "  The 
Service  of  Love,"  in  the  Museum  of  Hamburg.    [Died,  1883.] 

Siemiradsky,  Henri.  (Pole.)  Born  at  Kharkow,  1843.  Gold 
medal  at  St.  Petersburg.  Medal  at  Philadelphia.  Pupil  of  the 
Academy  of  St.  Petersburg.  Prix  de  Rome.  His  picture  of  "  The 
Confidence  of  Alexander  the  Great  in  his  Physician"  (1870)  attracted 
much  attention.  At  Philadelphia  he  exhibited  "  The  Amulet  Seller." 
His  picture  of  "The  Christians  burning  for  Torches  before  Nero" 
excited  an  unusual  interest  in  Rome.  It  combines  remarkable  effects 
of  magnificence  and  horror.  The  architecture,  the  pomp  of  the  Em- 
peror with  his  Empress,  courtiers,  and  attendants,  would  well  befit  a 
scene  of  peace  and  happiness.  But  the  horrible  effect  of  placing  in 
the  midst  of  all  this  splendor  these  Christian  martyrs,  bound  and 
ready  for  the  burning,  with  the  executioners  waiting  to  apply  the 
torches,  can  only  be  realized  in  seeing  it ;  for  so  well  is  the  reality 
made  to  appear  in  this  picture,  that  one  feels  by  turns  horror  and 
pity,  as  fully  as  if  in  a  life  scene  of  the  same  character.  The  wonder 
is  great  that  so  young  an  artist  could  have  grasped  the  thought  or  its 
execution.    This  picture  is  to  be  permanently  in  St.  Petersburg. 

To  the  Paris  Exposition  (1878)  he  sent  the  above-described  picture, 
11  The  Cup  or  the  Woman,"  and  "  The  Shipwrecked  Beggar." 

Signol,  Emile.  (Fr.)  Born  at  Paris,  1804.  Member  of  the  In- 
stitute, and  Officer  of  the  Legion  of  Honor.  Pupil  of  Blondel,  Gros, 
and  l'Jjlcole  des  Beaux- Arts.  He  gained  the  prix  de  Rome  in  1830. 
His  picture  of  "The  Adulteress"  (1840)  is  at  the  Luxembourg,  and 
gained  much  fame  for  the  artist  by  reproductions  in  engraving  which 
are  widely  known.  Several  works  by  this  master  are  at  Versailles. 
His  "  Death  of  Sapphira  "  is  at  the  Madeleine.  He  has  executed  much 
decorative  work  in  other  churches  of  Paris,  the  last  of  which  was 
that  of  Saint- Augustin.    He  has  also  painted  many  portraits. 

Silva,  Francis  A.  (Am.)  Born  in  New  York,  1835.  He  in- 
herited his  taste  for  art  from  his  grandfather,  Col.  Francois  Jean  of 
the  French  army,  who  was  exiled  during  the  first  Revolution,  went 
to  Lisbon,  devoted  himself  to  his  brush,  and  became  Painter  to  the 
Spanish  Court.  Young  Silva,  whose  father  opposed  his  studying  art, 
after  trying  several  trades,  was  finally  apprenticed  to  a  sign-painter  in 


254     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


New  York,  remaining  until  the  outbreak  of  the  Civil  War.  He  served 
in  the  army  as  an  officer  until  1866,  when  he  returned  to  his  native 
city.  In  1868  he  began  his  professional  career  as  an  artist.  He  is 
entirely  self-taught.  He  was  elected  a  Member  of  the  Water-Color 
Society  in  1872,  of  the  Artists'  Fund  Society  in  1873.  He  devotes 
himself  particularly  to  marine  views.  Among  his  more  important 
works  are,  "  Moonrise  "  (belonging  to  Eugene  Van  Rensselaer),  "  On 
the  Hudson  "  (to  Dr.  Judson  of  St.  Petersburg,  Russia),  "  Sunrise  in 
Boston  Harbor  "  (to  H.  P.  Cooper),  "  A  Gray  Day  at  Cape  Ann  "  (to 
R.  G.  Dun),  "  Bass  Rocks "  (to  George  C.  Waldo),  "  Sunset  on  the 
Coast "  and  "  Moonrise,  Hudson  River "  (to  J.  A.  Jameson),  "  New 
London  Light "  (to  Cortlandt  Palmer),  "  The  Twilight  Hour "  (to 
Jackson  Schultz),  "  Hudson  River  "  (to  Cyrus  Butler),  "  The  Yacht 
Magic  "  (to  W.  T.  Garner),  and  "  Moonlight  on  the  Chesapeake  "  (to 
W.  J.  Best). 

Simart,  Pierre  Charles.  (Fr.)  Born  at  Troyes  (1806-1857). 
Member  of  the  Institute.  He  wished  to  be  a  sculptor  from  his  earli- 
est years  ;  but  he  met  with  positive  persecution  from  his  family  on 
account  of  this  desire,  and  at  seventeen  he  went  to  Paris  with  a  pen- 
sion of  only  300  francs  a  year  from  his  native  city.  It  is  easy  to  see 
that  on  this  sum  he  could  only  live  in  misery,  and  his  trials  had  such 
an  effect  on  him  that  one  of  his  friends  says  of  him,  that  he  entered 
on  life  with  a  broken  heart.  He  was  always  a  prey  to  intense  sad- 
ness, as  may  be  seen  from  his  letters  (^tude  sur  sa  vie  et  son  ceuvre 
par  M.  Gustave  Eyries).  In  1833  Simart  obtained  the  grand  prix  de 
Borne,  and  went  there  at  about  the  same  time  as  Ingres,  who  replaced 
Horace  Vernet.  His  first  notable  work  was  the  "Disk-Thrower," 
models  of  which,  in  plaster,  are  at  the  Louvre  and  at  the  Museum  of 
Troyes.  His  "  Orestes  taking  Refuge  at  the  Altar  of  Pallas "  was 
called  by  Ingres  the  most  beautiful  statue  of  modern  times.  It  was 
seen  at  the  Salon  of  1840.  The  plaster  model  is  at  the  chateau  of 
Vendreuve,  and  the  marble  is  at  the  Museum  of  Rouen.  He  next 
executed  two  bas-reliefs,  "  Sculpture "  and  "  Architecture,"  which 
were  placed  on  the  right  wing  of  the  Hotel  de  Ville  at  Paris;  two 
large  figures,  "Justice"  and  "Abundance,"  attached  to  the  columns 
of  the  Barriere  du  Trone;  the  bust  of  a  Prince  of  the  House  of  Or- 
leans, at  Versailles;  "Philosophy,"  a  marble  statue  in  the  library  of 
the  Luxembourg ;  a  bust  of  M.  Jourdan  at  the  Museum  of  Troyes  ; 
and  "An  Angel  consoling  Tobias,"  belonging  to  Daguet,  a  molder 
at  Paris.  All  these  works  were  executed  between  1840  and  '43.  In 
1841  Simart  married,  and  from  that  time  his  life  was  happier.  He 
then  undertook  a  "  Virgin  and  Child  "  for  the  altar  of  the  Virgin  in 
the  Cathedral  of  Troyes.  It  is  now  in  its  place,  —  a  marble  group,  — 
both  figures  are  standing,  but  the  position  seems  to  separate  too  much 
the  mother  and  child  ;  altogether,  it  is  not  satisfactory  in  sentiment. 
Simart  next  executed  the  bas-reliefs  for  the  chateau  of  the  Duke  de 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  255 


Luynes  at  Dampierre  ;  they  are  among  his  best  works.  For  several 
years  previous  to  1857  he  was  occupied  with  the  decoration  of  the 
tomb  of  Napoleon  I.  at  the  Invalides,  and  the  ceiling  of  the  Salon 
Carre  at  the  Louvre.  These  works  are  not  likely  to  increase  his 
fame.  In  1857  he  composed  the  charming  group  of  "Art  demanding 
Inspiration  from  P®esy "  (in  marble),  in  the  Salle  du  Trone  at  the 
palace  of  the  Luxembourg.  This  was  completed  from  his  model  after 
his  death.  At  the  Museum  of  Troyes  is  a  collection  of  models  from 
his  works. 

Simler,  Friedrich  Karl  Josef.  (Ger.)  Born  at  Hanau  (1801  - 
1872).  Studied  at  Munich.  Landscape  and  animal  painter.  He 
remained  some  time  at  Vienna,  and  traveled  in  Upper  Austria  and 
Styria  ;  later,  in  France  and  Italy.  He  was  for  a  time  at  Hanover, 
where  he  had  been  commissioned  to  paint  a  number  of  portraits.  In 
1862  he  settled  at  Aschaffenburg.  At  the  National  Gallery,  Berlin, 
is  his  picture  of  a  "  Wild  Bull."  The  three  sons  of  Simler  all  studied 
art. 

Simmons,  William  Henry.  (Brit.)  Born  in  1811.  Received 
his  art  education  in  London,  and  gained  a  medal  of  the  Society  of 
Arts  while  still  a  young  man.  Among  the  more  important  of  Sim- 
mons' plates  are,  "  The  Queen  in  the  Highlands,"  after  Landseer  ; 
"  The  Marriage  of  the  Prince  of  Wales,"  after  Frith  ;  "  A  Wee  Bit 
Fractious,"  "  His  Only  Pair,"  "  Daddy 's  Coming,"  "  The  Poor  Man's 
Friend,"  "  Baith  Faither  and  Mither,"  and  others,  after  Thomas  Faed; 
"  Christ  and  his  Disciples  "  and  "  The  Light  of  the  World,"  after  Hol- 
man  Hunt;  "The  Proscribed  Royalist"  and  "Rosalind  and  Celia," 
after  Millais  ;  "  Not  Guilty,"  after  Abraham  Solomon  ;  "  Both  Puz- 
zled" and  "Steady,  Johnny!"  after  Erskine  Nicol ;  "Luff!  Boy!"  after 
Hook  ;  "  Great  Expectations,"  after  Henry  Le  Jeune ;  "  The  Shepherd 
of  Jerusalem,"  after  P.  R.  Morris  ;  and  many  more.    [Died,  1882.] 

Simmons,  Franklin.  (Am.)  Born  in  Maine,  1841.  He  devoted  ' 
his  leisure  time  as  a  boy  to  drawing  and  painting,  and  finally  to  model- 
ing, executing  portrait  busts  as  soon  as  he  graduated  from  college. 
In  Washington,  during  the  Civil  War,  he  found  ample  employment 
in  the  cutting  of  busts  of  statesmen  and  soldiers,  and  the  execution  in 
bronze  of  several  statues  for  public  monuments.  He  settled  in  Rome 
about  1867.  Among  his  works  executed  there  are  the  statues  of  Roger 
Williams  and  Governor  King,  in  Washington  ;  "  Jochebed,"  for  Mr. 
W.  S.  Appleton  ;  "  Roger  Williams,"  in  bronze,  in  Providence,  R.  I., 
unveiled  in  1877  ;  and  the  Naval  Monument  in  front  of  the  National 
Capitol. 

"  The  general  expression  of  the  principal  figure  [Jochebed]  is  the  union  of  mental  ac- 
tivity with  external  repose.  This  is  well  contrasted  with  the  restless  playfulness  of  the 
smiling  boy,  Moses.  The  design  of  Jochebed's  figure  would  almost  amount  to  grandeur 
were  not  its  simplicity  lessened  in  a  degree  by  the  exuberance  of  the  drapery,  or  rather 
by  its  being  cut  up  into  numberless  folds."  —  Art  Journal,  October,  1873. 

"  The  story  tells  itself  with  all-sufficient  completeness,  but  the  merits  of  the  statue 


256     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


['  Jochebed ']  do  not  by  any  means  exhaust  themselves  with  a  satisfactory  exposition  of 
the  subject.  The  face  is  full  of  expression,  and  the  draperies,  while  broadly  massed, 
as  draperies  in  sculpture  always  should  be,  are  minutely  and  admirably  studied  in  a 
manner  that  is  suggestive  of  some  of  the  best  antique  work. "  —  Great  American  Sculptors. 

Simonetti,  Cavaliere  Attilio.  (Ital.)  Born  at  Rome.  Profes- 
sor at  Naples.  Pupil  of  Fortuny.  At  the  Paris  Salon  of  1875  he 
exhibited  "  The  First  Fable"  ;  in  1876,  "After  the  Ball"  ;  in  1878,  at 
the  Exposition,  "  Via  Giuseppe  Mancinelli,  at  Palazzolo."  At  the 
Johnston  sale,  New  York,  1876,  his  "  Proclamation  in  Front  of  the 
Pantheon  "  (32  by  63)  sold  for  $  2,725. 

Simonsen,  Niels.  (Dane.)  Born  in  Copenhagen,  1807.  Mem- 
ber of  the  Academy  of  Copenhagen.  Studied  first  in  Copenhagen 
under  Professor  Lund.  Went  then  to  Munich.  He  traveled  in  Al- 
geria, and,  by  a  picture  of  <c  Lord  Byron's  Corsair,"  won  considerable 
fame.  His  best  works  are  sea- views,  among  which  may  be  mentioned 
"  Fishermen  rescuing  a  Ship  in  the  North  Sea."  "  A  Betrothal,  Swe- 
den "  may  be  commended  for  its  representation  of  national  customs. 

Simpson,  William.  (Brit.)  Born  in  Glasgow.  He  commenced 
his  career  as  an  artist  in  his  native  city,  where  he  was  apprenticed  to 
a  firm  of  lithographers.  Later,  he  removed  to  London,  entering  the 
employment  of  the  Messrs.  Day.  He  went  to  the  Crimea  in  1854,  and 
during  the  Russian  war  sent  home  sketches  which  were  published  in 
book  form.  He  was  in  India  in  1859,  and  has  visited  many  countries 
on  the  staff  of  the  Illustrated  London  News.  He  is  a  member  of  the 
Royal  Geographical  Society,  and  exhibits  occasionally  sketches  in 
water-colors,  as  well  as  in  black  and  white. 

Sinding,  Otto.  (Norwegian.)  Medal  at  Philadelphia,  where  he 
exhibited  "  Ruth  and  Boaz,"  which  Weir  pronounced  the  most  impor- 
tant work  in  the  exhibit  of  Norway,  and  says,  in  his  report,  "  This 
picture  is.  a  production  of  mature  art,  admirable  in  sentiment,  in 
breadth  and  freedom  of  execution,  and  fine  in  color.  The  figures  are 
thoroughly  well  drawn,  and  the  landscape  skillfully  rendered." 

'*  Otto  Sinding  is  a  coast-painter  who  makes  one  actually  hear  the  roar  of  the  breakers 
as  they  chase  each  other  in  tumultuous  masses,  and  lash  the  rocks  with  a  power  that 
may  be  felt."  —  Benjamin's  Contemporary  Art  in  Europe. 

Skill,  F.  John.  (Brit.)  Contemporary  English  water-color  artist. 
Member  of  the  Institute,  living  in  London.  Devotes  himself  to  land- 
scape and  marine  views,  with  occasional  figure-pieces.  Among  his 
works  are,  "  Rising  Tide,"  "  By  the  Sea,"  "  A  Shrimper,"  "  Thames 
Lock  in  June,"  "  Sheep,  South  Devon,"  "  Little  Cow-Keeper,"  "  Her 
First  Ball,"  etc.  To  the  Paris  Exposition  he  contributed,  "  View  on 
the  Tiber  "  and  "  San  Lorenzo,  Genoa."    [Died,  1881.] 

"The  tints  are  so  delicately  chosen,  are  so  skillfully  combined,  that  we  must  look 
upon  this  little  sketch  [F.  J.  Skill's  '  Sunrise  on  the  Grand  Canal,  Venice,'  1875]  as 
equal  in  effect  to  anything  in  the  Exhibition.  It  is  conceived  and  executed  in  the  true 
spirit  of  water-color  art."  —  Art  Journal,  February,  1875. 

Skovgaard,  Peter  Christian.    (Dane.)    (1817-  1876.)  Profes- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  257 


sor  at  the  Academjr  of  Copenhagen,  where  he  studied  and  won  medals. 
He  is  one  of  the  most  celebrated  landscape-painters  of  Denmark.  Few 
northern  artists  have  so  nearly  approached  Claude  Lorraine.  His 
drawing  is  better  than  his  color.  His  pictures  of  wood-scenes  and  of 
gently  flowing  streams  are  especially  good.  Several  of  his  best  works 
are  at  Christiansborg.  His  portraits  are  also  good.  Eight  of  his  Dan- 
ish landscapes  were  exhibited  at  the  Paris  Exposition  of  1878. 

Slingeneyer,  Ernest.  (Belgian.)  Born  at  Loochristi,  1823.  Chev- 
alier of  the  Order  of  Leopold.  He  won  several  medals.  Pupil  of 
Wappers.  He  sent  to  the  Brussels  Exposition  of  1842  "  The  Avenger," 
afterwards  seen  at  Paris  and  The  Hague,  and  sold  in  Cologne.  His 
"  Death  of  Classicus  "  was  purchased  by  the  King  of  Holland  ;  the 
"  Death  of  Jacobsen,"  by  the  King  of  Belgium  ;  "  Camoens,"  by  the 
King  of  Portugal.  He  has  painted  several  battle-pieces,  which  have 
been  much  praised.  Among  his  other  works  are,  "  The  Christian 
Martyr,"  "  An  Episode  of  St.  Bartholomew's,"  and  "  The  Physician 
Vesalius  following  the  Army  of  Charles  V.,"  a  chef-d'oeuvre,  now  at 
the  Museum  of  Brussels. 

Small,  William.  (Brit)  Contemporary  English  landscape-artist, 
residing  in  London.  Member  of  the  Institute  of  Painters  in  Water- 
Colors.  Among  his  works  in  that  medium  are,  "  The  Fallen  Monarch," 
"  Going  to  Market,"  "  Connemara,"  "  Early  Spring,"  "  The  Harvest- 
Field,"  "  The  Last  Offer,"  "  At  Hampsteao1,"  etc.  In  oil  he  has  ex- 
hibited of  late  years,  at  the  Royal  Academy,  "After  the  Storm/ 
"  The  Highland  Harvest- Home,"  and  others.  To  the  Paris  Expo- 
sition of  1878  he  sent  "  The  Wreck  "  (in  oil),  and  "  Beech- Trees  "  an\l 
"  Poplars  "  (in  water-colors). 

"  '  The  Wreck'  [R.  A.,  1876],  by  William  Small,  is  a  noble  specimen  of  grandly  painted 
seascape,  certainly  one  of  the  masterpieces  of  the  year."  —  Art  Journal,  July,  1876. 

Smart,  John.  (Brit.)  Born  in  Edinburgh.  Educated  in  his 
native  city,  spending  the  greater  part  of  his  professional  life  there.  A 
landscape-painter,  he  devotes  himself  particularly  to  the  wild  and 
barren  scenery  of  the  Highlands  of  Scotland,  frequently  introducing 
cattle  into  his  pictures.  For  some  years  Associate  of  the  Royal  Scot- 
tish Academy,  he  was  elected  Academician  in  1877.  Among  his  later 
works  may  be  noted,  "  Autumn,  Glen  Lyons,"  "  Drumharry,"  "  Head 
of  Glen  Ogle,"  "  Hill  Frank,  —  Clipping-Day,"  "  A  Feeding  Storm," 
"  In  the  Pass  of  Lyon,"  "  Far  from  the  Busy  World,"  "  When  Hill- 
taps  a '  were  White,"  "  Halt  of  the  Herd,"  etc.,  exhibited  at  the  Royal 
Academy  and  the  Royal  Scottish  Academy.  His  "  Gloom  of  Glen 
Ogle"  was  at  the  Philadelphia  Exhibition  of  1876;  "Among  the 
Yellow  Corn,"  at  Paris  in  1878. 

"  Perhaps  John  Smart  has  risen  more  rapidly  into  deserved  esteem  than  most  of  his 
compeers,  He  has  certainly  never  achieved  greater  success  than  in  '  The  First  of  Win- 
ter's Snaws '  [R.  S.  A.,  1874].  The  chill  from  the  whitened  hillside  creeps  into  our 
blood,  and  we  feel  that  none  but  a  veritable  scion  of  cauld  Caledonia  could  have  ex- 
pounded a  theme  of  such  thoroughly  bleak  nationality."  —  Art  Journal,  March,  1874. 

Q 


258     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Smillie,  James.  (Brit.-Am.)  Born  at  Edinburgh,  1807.  When 
about  eleven  years  old  he  was  apprenticed  to  a  silver-engraver.  This 
master  died  soon,  and  Smillie  was  for  a  short  time  with  Edward 
Mitchell,  an  engraver  of  pictures.  When  he  was  less  than  fourteen  he 
was  taken  to  America.  His  father  and  brothers  established  them- 
selves as  jewelers  in  Quebec,  and  James  worked  for  them.  His  skill 
attracted  the  notice  of  Lord  Dalhousie,  who  gave  him  a  passage  to 
London,  with  letters  of  introduction.  This  proved  an  injury,  for  the 
engravers  to  whom  he  applied  demanded  large  prices  for  his  instruc- 
tion, supposing  him  to  be  a  protege  of  Lord  Dalhousie.  He  therefore 
went  to  Edinburgh,  and  remained  five  months  with  Andrew  Wilson, 
and  then  returned  to  Quebec.  He  went  to  New  York  City  in  1829, 
and  has  since  resided  there.  He  has  been  much  connected  with  bank- 
note engraving.  He  was  made  a  member  of  the  National  Academy  in 
1851.  His  plate  of  "  The  Convent  Gate,"  after  R.  W.  Weir,  first  at- 
tracted public  attention  to  his  work.  His  series  after  Cole's  "  Voyage 
of  Life  "  and  Bierstadt's  "  Rocky  Mountains  "  are  too  well  known  to 
require  praise.  Among  his  best  plates  are,  "  The  Bay  and  Harbor  of 
New  York,"  after  John  G.  Chapman  ;  "  Dover  Plains,"  after  A.  B. 
Durand  ;  "  Evening,  in  the  New  York  Highlands,"  after  Weir  ; 
"  Mount  Washington,  from  Conway  Valley,"  after  John  F.  Kensett ; 
"American  Harvesting,"  after  J.  F.  Cropsey  ;  "The  Land  of  the 
Cypress,"  after  D.  Huntington ;  etc. 

"James  Smillie,  conceded  to  be  the  best  landscape  engraver  in  America,  is  altogether 
a  self-educated  man,  overcoming  every  obstacle  by  patient,  persistent  effort.  His  plates, 
the  most  important  in  this  particular  branch  of  the  art  yet  produced  in  this  country, 
executed  with  great  taste  and  ability,  are  replete  with  fine  artistic  feeling,  and  are  truth- 
ful translations  of  the  originals."  — W.  S.  Baker,  American  Engravers  and  their  Works. 

Smillie,  James  D.,  N.  A.  (Am.)  Born  in  New  York,  1833.  Son 
of  James  Smillie,  N.  A.,  by  whom  he  was  educated  as  an  engraver  on 
steel,  devoting  all  his  time  to  that  profession,  until  1864,  when  he 
turned  his  attention  to  drawing  and  painting,  without,  however,  the 
benefit  of  schools  or  masters.  He  has  spent  his  professional  life  in  New 
York,  studying  also  among  the  great  mountain-ranges  of  the  United 
States,  the  Sierras,  the  Adirondacks,  the  Rocky,  White,  and  Catskill 
Mountains.  He  made  a  short  visit  to  Europe  in  1862.  He  was  elected 
an  Associate  of  the  National  Academy  in  1868,  Academician  in  1876, 
and  member  of  the  Council  the  next  year.  He  was  one  of  the  original 
members  of  the  American  Society  of  Painters  in  Water-Colors,  in 
1866,  was  its  first  Treasurer,  and  its  President  from  1873  to  '78,  con- 
tributing regularly  to  its  exhibitions  as  well  as  to  those  of  the  Acad- 
emy of  Design.  Among  the  more  important  of  his  works  may  be 
mentioned,  "  Evening  among  the  Sierras  of  California  "  (owned  by 
S.  T.  Williams  of  New  York),  "  The  Lifting  of  the  Clouds,  White 
Mountains  "  (belonging  to  George  Hearne  of  New  York),  and  "  Dark 
against  Day's  Golden  Death  "  (belonging  to  William  M.  Smillie  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  259 


New  York),  all  in  oil  ;  in  water,  "  A  Scrub-Race  on  the  Western 
Prairies  "  (owned  by  W.  Wilson  of  New  York)  and  "  The  Track  of 
the  Torrent,  Adirondacks  "  (in  the  collection  of  F.  W.  Lewis  of  Phila- 
delphia). "  The  Scrub-Race  "  and  "  A  Study  from  Nature,  Ausable 
River"  were  at  the  Centennial  Exhibition  at  Philadelphia  in  1876. 
For  Appletons'  "Picturesque  America"  he  illustrated  "The  Saguenay," 
and  furnished  the  letter-press  description  as  well  as  the  illustration  for 
the  article  on  the  Yosemite  in  the  same  work. 

"  In  the  coloring  the  tones  on  the  mountain  side,  in  shadow,  are  almost  opalescent  in 
effect,  and  are  brought  together  and  harmonized  in  the  most  artistic  way  ['Evening, 
High  Sierras,  Cal.,'  N.  A.,  1876]."  —  Art  Journal,  June,  1876. 

Smillie,  George  H.,  N.  A.  (Am.)  Born  in  the  city  of  New  York, 
1840.  Son  of  James  Smillie,  line-engraver,  and  younger  brother 
of  J.  D.  Smillie,  N.  A.  He  entered  the  studio  of  James  M.  Hart  at 
an  early  age,  spending  the  greater  part  of  his  professional  life  in  New 
York.  In  1871  he  made  a  trip  to  the  Rocky  Mountains  and  the 
Yosemite  Valley  for  the  purpose  of  study  and  sketching,  and  in  1874 
he  visited  Florida.  He  was  elected  an  Associate  of  the  National  Acad- 
emy in  1864,  and  member  of  the  American  Water-Color  Society  in 
1868,  contributing  regularly  to  the  annual  exhibitions  of  both  insti- 
tutions. Among  his  more  important  works  are,  "  Boquet  River  and 
Hills  "  (N.  A.,  1869),  belonging  to  A.  Van  Valkenburg,  New  York  ; 
"  Under  the  Pines  of  the  Yosemite  "  (water-color,  1872),  owned  by 
James  Smillie  ;  "  A  Lake  in  the  Woods  "  (N.  A.,  1872),  the  property 
of  Touro  Robertson,  New  York  ;  "  A  Florida  Lagoon  "  (N.  A.,  1875), 
owned  in  Utica.  To  the  Centennial  Exhibition  he  sent  (in  oil)  his 
"  Lake  in  the  Woods  "  and  (in  water-color)  "  Sentinel  Rock,  Yosemite 
Valley  "  and  "  Study  on  the  Ausable  River,  N.  Y."    [N.  A.,  1882.] 

"  George  H.  Smillie's  sketches  do  infinite  credit  to  him  in  their  carefully  finished  exe- 
cution and  in  the  understanding  of  the  subject  A  certain  refinement  runs  through 

all  his  artistic  work,  no  matter  what  be  the  subject.  It  enhances  the  charm  of  his  more 
quiet  scenes,  and  modifies,  without  losing  the  character  of  bolder,  wilder  views.  His 
sketches  in  detail  show  a  careful  study  which  form  most  promising  and  valuable  means 
for  important  works. "  —  New  York  Herald,  November,  1870. 

"  There  is  a  charming  picture  of  good  size  by  George  H.  Smillie,  '  Under  the  Pines  of 
the  Yosemite. '   Two  large,  brown  pine  trunks  rise  about  thirty  or  forty  feet  to  the  top 

of  the  picture.    Indians  are  camping  beneath,  etc  The  work  is  full  of  artistic 

skill  and  of  poetical  feeling,  and  gives  us  delightful  associations  with  this  romantic  and 
unexplored  region."  —  Atlantic  Monthly,  March,  1872. 

Smirke,  Sir  Robert,  R.  A.  (Brit.)  (1780-1867.)  Son  of  Rob- 
ert Smirke,  a  prominent  painter  and  member  of  the  Royal  Academy. 
He  studied  architecture  in  Italy,  and  elsewhere  on  the  Continent,  and 
upon  his  return  to  England  was  employed  upon  the  British  Museum 
and  the  new  London  Post-Office.  He  designed  many  buildings  in 
Great  Britain,  public  and  private,  and  was  knighted  by  William  IV. 
in  1831.  He  was  elected  an  Associate  of  the  Royal  Academy  in  1813, 
Academician  in  1823,  and  for  many  years  was  Treasurer  to  the  Acad- 
emy, resigning  that  position  in  1850. 


260    ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Smirke,  Sydney,  R.  A.  (Brit.)  Born  in  the  latter  part  of  the 
last  century.  Younger  brother  of  Sir  Robert  Smirke.  He  en- 
tered the  schools  of  the  Royal  Academy  as  a  youth,  gaining  the  gold 
medal  in  1819.  In  1848  he  was  elected  an  Associate  of  the  Royal 
Academy,  Academician  in  1860,  Professor  of  Architecture  in  1861. 
Treasurer  in  1862,  Trustee  in  1867,  and  was  placed  upon  the  list  of 
Honorary  Retired  Academicians  in  1877.  Among  the  better  known 
of  the  London  buildings  designed  by  Sydney  Smirke  are  the  Carleton 
Club,  the  Conservative  Club,  the  Reading-Room  and  other  portions 
of  the  British  Museum,  and  the  new  Royal  Academy,  Burlington 
House,  completed  in  1874.  He  was  also  engaged  in  the  restoration  of 
the  Temple  Church,  London,  York  Minster,  Lichfield  Cathedral,  and 
many  fine  edifices  throughout  the  kingdom.    [1798.-  1877.] 

Smith,  Colvin.  (Brit.)  (1793  - 1875.)  Began  his  art  career  at 
an  early  age,  entering  the  schools  of  the  Royal  Academy  in  London, 
and  studying  and  painting  in  Italy.  He  settled  in  Edinburgh  in 
1827,  and  became  a  member  of  the  Scottish  Academy  in  1829.  He 
exhibited  as  late  as  1871.  A  portrait-painter,  having  many  of  his  dis- 
tinguished fellow-countrymen  for  his  subjects  ;  among  these,  Macken- 
zie ("  The  Man  of  Feeiing "),  Jeffrey,  Sir  Walter  Scott,  and  others. 
His  portrait  of  Scott  was  very  successful,  has  been  engraved,  and  it  is 
said  that  over  twenty  copies  of  it  were  painted  by  the  artist,  for  many 
of  which  Sir  Walter  gave  sittings. 

Smith,  T.  L.,  A.  N.  A.  (Am.)  Born  in  Glasgow,  1835.  He  emi- 
grated to  America  at  an  early  age,  and  studied  for  a  short  time  under 
George  H.  Boughton,  in  Albany,  N.  Y.  He  opened  a  studio  in  that  city 
in  1859,  remaining  there  three  years.  In  1862  he  removed  to  New 
York,  where  the  rest  of  his  professional  life  has  been  spent.  He  has 
been  a  frequent  contributor  to  the  exhibitions  of  the  National  Acad- 
emy, and  was  elected  an  Associate  of  that  institution  in  1870.  He 
began  his  career  as  a  painter  of  winter  scenes,  with  a  strong  love  for 
the  season  itself,  and  has  devoted  himself  almost  exclusively  to  the 
delineation  of  landscapes  of  that  character,  with  marked  success. 
Among  his  more  important  works  are,  "  The  Homestead  in  Winter,"  at 
the  National  Academy  in  1871 ;  "The  Grove  in  Winter,"  at  the  National 
Academy  in  1872  (owned  in  Albany,  N.  Y.,  by  Captain  Sweeney)  ; 
"  The  Deserted  House,"  at  the  National  Academy  in  1873  (now  in  the 
collection  of  W.  H.  Hamilton  of  New  York)  ;  "  The  Eve  of  St.  Agnes," 
exhibited  at  the  Boston  Art  Club  in  1873  (now  in  the  Saville  Collection 
of  that  city)  ;  and  "  Woods  in  Winter  "  and  "  Woods  in  Autumn,"  his 
two  largest  works,  belonging  to  J.  H.  White  of  Boston.  "  The  De- 
serted House  "  and  "  The  Eve  of  St.  Agnes  "  were  at  the  Centennial 
Exhibition  at  Philadelphia  in  1876. 

"  Mr.  Smith  paints,  conscientiously,  winter  trees  and  snow,  a  fanner's  cosy  home,  out- 
buildings, and  wood-piles  ;  the  calm,  warm  glow  of  a  winter  sky  and  clouds,  truly  and 
faithfully,  according  to  his  own  inspiration  The  merit  of  this  picture  ['Winter 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  261 


Homestead  '],  as  far  as  style  is  concerned,  is  the  art,  which  conceals  art,  an  individuality 
of  thought  and  expression  by  which  we  recognize  and  sympathize  with  a  fresh  local  in- 
spiration from  nature."  —  New  York  Evening  Post,  April,  1870. 

Smith,  George.  {Brit.)  Born  in  London,  1829.  He  entered  the 
schools  of  the  Royal  Academy  in  1845,  and  was  also  for  some  time  a 
pupil  of  Cope.  He  first  exhibited  at  the  Royal  Academy  about  1850, 
and  regularly  since.  Among  his  early  works  are,  "  The  Launch  "  and 
"  The  Bird-Trap."  In  1861  he  exhibited  "  The  Seven  Ages  ";  in  1862, 
"  Searching  for  the  Well";  in  1864,  "  Beware  of  the  Dog";  in  1865, 
"Light  and  Darkness";  in  1867,  "The  Valentine";  in  1869,  "A 
Game  of  Speculation";  in  1870,  "  In  the  Study  ";  in  1872,  "  Paying 
the  Legacies";  in  1873,  "Who  comes  here  ?";  in  1875,  "ft  Scrap  of 
Nature  in  1876,  "  Out  in  the  Cold  World  ";  in  1878,  "  The  Soldier's 
Wife." 

Smith,  A.  Cary.  (Am.)  Born  in  New  York,  1837.  He  studied 
under  M.  F.  H.  De  Haas,  and  has  spent  his  professional  life  in  his 
native  city,  devoting  himself  to  marine  views.  He  has  been  a  frequent 
exhibitor  at  the  National  Academy  for  some  years,  sending,  in  1867, 
«  Off  Little  Gull  ";  "  The  Yacht  Eva  "  (belonging  to  L.  L.  Lorillard), 
in  1868;  "  Sunrise,"  in  1869;  "The  Last  of  the  Old  Ship  "  and  "  Nor'- 
wester,  Coast  of  Maine,"  in  1871;  "Windy  Day,"  in  1876  ;  "The 
Yacht  Dauntless  "  (belonging  to  Philip  Schuyler),  in  1877  ;  and 
"  Perils  of  the  Sea,"  in  1878.  He  has  also  painted  the  yacht  "Co- 
lumbia," for  Lester  Wallack;  the  "  Sappho,"  for  William  P.  Douglas; 
the  "  Wanderer,"  for  James  Stillman ;  and  many  more. 

Smith,  F.  Hopkinson.  (Am.)  Born  in  Baltimore,  1838.  A  self- 
educated  artist,  and  prominent  member  of  the  Water-Color  Society,  of 
which  he  was  elected  member  in  1871,  and  Treasurer  in  1873,  a  posi- 
tion he  still  holds  (1878).  He  is  a  constant  contributor  to  its  exhibi- 
tions, sending,  in  1871,  "  Summer  in  the  Woods,  White  Mountains"; 
in  1874,  "The  Old  Man  of  the  Mountains";  in  1875,  "Overlook 
Falls"  and  "Walker's  Falls,  Franconia  Notch,  N.  H.";  in  1876,  "A 
Summer's  Day"  and  "Grandfather's  Home";  in  1877,  "In  the 
Darkling  Wood  "  (belonging  to  William  D.  Irwin,  Chicago), "  Under 
the  Leaves  "  (belonging  to  William  D.  Sloane,  New  York),  and  "  De- 
serted "  (the  property  of  Charles  F.  Havermeyer);  in  1878,  "  The  Old 
Smithy,"  "  Looking  Seaward,"  etc.  His  professional  life  has  been 
spent  in  New  York.  His  "  Old  Cedars,  Franconia  Mountains  "  and 
"  In  the  Darkling  Wood  "  were  at  the  Centennial  Exhibition  of  1876. 
His  "  Profile  Notch  "  (in  charcoal)  is  in  the  collection  of  Samuel  V. 
Wright;  "A  Cool  Spot"  (in  water-color),  in  the  collection  of  John 
Jacob  Astor. 

♦"Walker's  Falls,  Franconia  Notch '  [N,  A.,  1875],  by  F.  Hopkinson  Smith,  is  remark- 
ably successful  in  the  delineation  of  the  falling  water  and  the  moss-covered  rocks  which 
line  the  ravine.  The  tree  foliage  is  fresh,  and  shows  some  clever  gradations  from  the 
dark  tones  in  shadow  to  the  topmost  branches,  which  are  under  the  influence  of  the 
noonday  sunlight."  —  Art  Journal,  March,  1875. 


262     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Smith  belongs  much  to  the  same  set  of  landscapists  as  Bellows,  Durand,  aud  in  cer- 
tain respects,  Bristol  and  Whittredge  ;  painters  who  represent  American  scenes  of  cheerful 
vegetation,  usually  under  bright  skies.  Mr.  Smith  is  succeeding  very  well  in  water- 
colors,  a  branch  that  neither  of  the  other  men  we  have  named,  except  Bellows,  has 
affected  much :  and  in  the  recent  Water-Color  Exhibition  of  the  Academy,  if  the  eye 
rested  upon  a  clear  brook,  whose  clean  amber-colored  bed  reflected  green  forest-trees 
that  nodded  about  it ;  or  if  the  visitor  espied  some  rustic  bridge  that  connected  two 
sides  of  a  country  village,  with  gray-white  church-steeple  ;  or  where  a  couple  of  lovers 
reposed  upon  a  bank  thick'  grown  with  wild-flowers  —  it  was  quite  probable  that  each  of 
them  was  painted  by  this  artist.  ....  Mr.  Smith's  paintings  are  all  of  a  summer-like 
character  ;  and,  although  the  arrangement  of  his  compositions  is  sometimes  a  little 
formal,  the  detailed  objects  are  well  handled  ;  and  whether  it  be  rocks,  water,  or  wood- 
land glades,  all  indicate  a  very  genuine  lover  of  Nature,  and  that  a  hard  and  enthusias- 
tic student  is  diligently  seeking  to  transcribe  her  moods."  —  Art  Journal,  March  11,  1876. 

Smith,  Frank  Hill.  (Am.)  Born  in  Boston,  1841.  He  received 
his  early  training  in  the  schools  of  that  city,  and  studied  architecture 
there  with  Hammatt  Billings.  Later,  he  entered  the  Atelier  Suisse 
in  Paris,  and  was  also  a  pupil  of  Bonnat,  and  other  masters  in  Paris 
and  Italy.  His  professional  life  has  been  spent  largely  abroad,  in 
Belgium,  Holland,  Italy,  the  interior  of  France,  and  four  or  five 
years  in  Paris.  For  some  time  he  has  been  a  resident  of  Boston.  He 
was  a  Judge  of  Fine  Arts  at  the  Philadelphia  Exhibition  of  1876, 
and  is  a  Director  of  the  School  of  the  Boston  Museum  of  Fine  Arts. 
He  has  painted  portraits,  figure-pieces,  and  landscapes  ;  and  his 
wrorks  are  in  public  and  private  collections  in  Boston  and  elsewhere 
in  the  United  States.  "  Venice,"  one  of  the  most  important  of  his 
landscapes,  belongs  to  the  Boston  Somerset  Club  ;  another  view  of 
"  Venice/'  to  Hon.  William  Claflin  of  Massachusetts.  Within  the 
last  two  years  Mr.  Smith  has  given  special  attention  to  fine  interior 
decoration,  his  study  and  observations  in  Europe  being  in  some  degree 
directed  with  a  view  to  this  work.  He  made  many  drawings  and 
sketches  of  famous  Continental  interiors  which  he  brought  to  America. 
He  decorated  the  Windsor  Hotel  and  Opera  House,  Holyoke,  Mass., 
and  several  private  and  public  buildings  in  Boston  and  Cambridge. 
In  this  work  he  has  been  assisted  by  a  large  corps  of  artists  who  have 
had  more  or  less  training  under  him,  but  the  principal  part  of  the 
labor  he  has  performed  himself. 

"  Among  the  notable  pictures  at  Doll  and  Richards*  are  the  portraits  of  two  children, 
by  Frank  H.  Smith,  which  we  think  will  prove  more  generally  attractive  than  such  pic- 
tures usually  do  ;  inasmuch  as,  besides  containing  excellent  likenesses  of  the  originals, 
it  is  a  charmingly  arranged  and  painted  interior,  with  figures  such  as  any  lover  of  good 

pictures  might  enjoy  The  painting  of  these  accessories  is  worthy  of  much  praise. 

The  characteristics  of  the  different  materials,  and  particularly  of  the  vase,  are  very 
skillfully  and  admirably  rendered,  while  the  values  of  color  and  tone  are  managed  with 
fine  artistic  skill  and  feeling.  Although  we  have  spoken  first  of  the  painting  of  the 
accessories,  they  by  no  means  occupy  a  place  of  undue  prominence,  but  are  subserved 
with  much  good  taste  and  forbearance  to  the  figures. "  —  Boston  Transcript,  February  17, 
1873. 

"  Mr.  Smith  has  by  no  means  abandoned  the  production  of  oil-paintings,  yet  much  of 
his  time  is  now  occupied  in  drawing  designs  for  the  adorning  of  the  walls  of  buildings, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  263 


both  public  and  private.  The  movement  that  he  has  had  the  honor  of  inaugurating  in  this 
city  is  now  moving  rapidly  on  to  success.  He  has  recently  completed  the  drawing- 
rooms  of  a  residence  on  Commonwealth  Avenue,  giving  to  each  detail  a  careful  treatment 
that  has  made  the  walls  veritable  works  of  art."  —  Boston  Post,  July  3,  1878. 

Smith,  William  Russell.  {Am.)  A  native  of  Scotland.  He  was 
taken  to  America  at  an  early  age  by  his  family,  who  settled  in  Pitts- 
burg, Pa.,  and  apprenticed  the  lad  to  Lambdin  in  Philadelphia, 
under  whom  he  learned  to  draw.  Returning  to  Pittsburg,  he  became 
a  scene-painter  in  the  theater  there,  and  held  a  similar  position  in  the 
Walnut  Street  Theater,  Philadelphia,  where  he  is  said  to  have  dis- 
played uncommon  proficiency  in  the  higher  kinds  of  scenic  art.  Sub- 
sequently he  became  painter  of  landscapes  of  a  smaller  and  more 
elaborate  style  in  Philadelphia,  where  his  studio  still  is,  and  where 
his  pictures  are  highly  prized  and  many  of  them  owned.  His  "  Cave 
at  Chelton  Hills  "  was  at  the  Centennial  Exhibition  of  1876. 

"  We  have  seldom  found  landscapes  more  cherished  by  their  owners  or  more  enjoyed 
by  those  intimately  acquainted  with  their  authentic  charms  than  are  Russell  Smith's. 
....  In  the  happiest  efforts  of  this  artist  we  find  the  fresh  and  free  impression  of  na- 
ture reproduced  with  singular  vitality."  —  Tuckerman's  Book  of  the  Artists. 

Sohn,  Karl  Ferdinand.  (Ger.)  Born  at  Berlin  (1805-1867). 
Professor  at  the  Diisseldorf  Academy.  Studied  at  the  Berlin  Academy. 
In  1826  he  followed  Schadow  to  Diisseldorf.  In  1830  he  went  to  It- 
aly, and  afterwards  traveled  in  France,  Belgium,  and  Holland.  In  1832 
he  became  Professor  at  Diisseldorf,  where  he  takes  high  rank  among 
the  artists  of  that  school,  and  has  instructed  many  of  its  best  men. 
At  the  National  Gallery,  Berlin,  are  his  "  Lute-Players,"  "  The  Rape 
of  Hylas,"  and  "  Portrait  of  a  Woman."  At  the  Leipsic  Museum  is 
his  "  Donna  Diana."  Among  his  other  works  are,  "  The  Lorelei," 
"Vanity,"  "The  Sisters,"  "  Tasso  and  the  Two  Leonoras,"  "Romeo 
and  Juliet,"  "  The  Judgment  of  Paris,"  "  Diana  at  the  Bath  "  (a  chef- 
d'oeuvre),  etc.  At  the  Johnston  sale,  New  York,  1876,  "  Diana  sur- 
prised by  Acteon  "  (28  by  23)  sold  for  $  575. 

Solomon,  Abraham.  (Brit.)  Born  in  London  (1824-1862). 
He  entered  the  schools  of  the  Royal  Academy  at  the  age  of  fifteen, 
and  was  considered  a  very  promising  pupil.  His  first  work,  "  The 
Courtship  of  Ditchen  "  was  exhibited  at  the  Royal  Academy  in  1843, 
followed  by  others  in  a  similar  vein.  His  best-known  pictures, 
which  have  become  popular  on  both  sides  of  the  Atlantic  by  means 
of  the  engravings  of  them,  are,  "  Third  Class,  —  the  Parting  "  and 
"First  Class, —  the  Return,"  exhibited  in  1854;  "Waiting  for  the 
Verdict,"  in  1857  ;  and  "  Not  Guilty,"  in  1859.  His  last  exhibited 
works  were,  "Le  malade  imaginaire  "  and  "  Consolation,"  in  1861  ; 
and  "  The  Lost,  Found,"  in  1862,  the  year  of  his  death. 

Sonntag,  William  Louis,  N.  A.  (Am.)  Born  in  Western  Penn- 
sylvania, 1822.  His  professional  life  has  been  spent  in  Cincinnati, 
Ohio,  in  Italy,  where  he  studied  and  painted  for  some  time,  and  in  the 


264     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


city  of  New  York,  which  has  been  his  home  during  the  last  twenty 
years.  He  is  a  member  of  the  Artists'  Fund  Society,  and  was  in 
1861  elected  a  full  member  of  the  New  York  Academy  of  Design. 
As  an  artist  he  is  entirely  self-taught.  His  first  work  of  importance 
was  entitled  "  The  Progress  of  Civilization,"  comprising  four  paint- 
ings ;  his  second,  "  Alastor,  or  the  Spirit  of  Solitude,"  from  Shelley  ; 
his  third,  "  The  Eagle's  Home,"  painted  for  Charles  M.  Stewart  of 
Baltimore  ;  his  fourth,  "  The  Dream  of  Italy,"  property  of  Mr. 
Dinsmore  of  New  York;  his  fifth,  "The  Spirit  of  the  Alleghanies,"  a 
large  canvas,  purchased  by  the  Marquis  of  Chandos,  now  Duke  of 
Buckingham  ;  sixth,  "  A  View  of  the  Shenandoah,"  lately  in  the 
possession  of  Jay  Cooke  of  Philadelphia  ;  seventh,  "  Recollections  of 
Italy,"  belonging  to  Abram  Adams  of  Boston.  Among  his  later 
works  exhibited  at  the  National  Academy  may  be  mentioned,  "  Sun- 
set near  Bethlehem,  N.  H.,"  in  1871  ;  "  Sunset  in  the  Swamp,  near 
the  Coast  of  Maine,"  in  1873  ;  "  The  East  River  in  February,"  in 
1874;  "A  View  in  Vermont,"  in  1875  ;  "The  Gulf "  (belonging  to 
John  H.  Sherwood),  in  1876;  "Deserted,"  in  1877  ;  "A  Passing 
Shower"  and  "Clement's  Brook,  N.  H.,"  in  1878.  His  "Hour  after 
Sunset"  and  "Hour  before  Sunrise,"  on  the  Susquehanna,  com- 
panion pictures,  belong  to  Mrs.  E.  D.  Kimball  of  Salem  ;  and  "  A 
View  near  Harper's  Ferry,  Va.,"  to  Mr.  C.  H.  Miller  of  the  same  city. 
His  "  Sunset  in  the  Wilderness  "  he  sent  to  the  Centennial  Exhibition 
in  Philadelphia  in  1876. 

Sorensen,  C.  F.  (Dane.)  Member  of  the  Academy  of  Copenha- 
gen. Medal  at  Philadelphia,  where  he  exhibited  "  Sunset  on  the 
Atlantic,  —  an  Old  Frigate  in  a  Gale."  To  Paris,  in  1878,  he  sent, 
"  Vessels  of  War  leaving  the  Faroe  Islands,"  "  Fishers  on  the  Coast 
of  Norway,"  and  "  Navigators  passing  Kinn  Sound  on  the  Way  to 
Bergen."    [Died,  1879.] 

Soumy,  Joseph-Paul-Marius.  (Fr.)  Born  at  Puy  Amblay 
(1831  - 1863).  Student  at  l'l^cole  Imperiale  at  Lyons,  where"  he 
gained  the  first  prize.  In  1852  he  entered  l'lilcole  des  Beaux- Arts  at 
Paris,  and  studied  under  Henriquel  Dupont.  In  1854  he  took  the 
grand  prix  de  Rome,  and  soon  went  to  Itaty.  Not  long  after  he 
painted  the  portrait  called  "  La  Carolina,"  at  the  Museum  of  Mar- 
seilles. He  made  designs  after  the  masters  ;  one  from  a  portrait  by 
Giorgione  in  the  Doria  Palace,  and  from  it  he  made  an  engraving. 
This  was  his  chef-d'ceuvre.  Could  he  have  lived  he  would  have  had 
an  influence  on  the  engraving  of  his  time.  But  his  life  was  a  sad  one, 
and,  after  having  become  nearly  blind,  he  threw  himself  from  the 
window  of  a  maison  de  sante,  and  was  killed. 

Spangenberg,  Gustav  Adolf.  (Ger.)  Born  at  Hamburg,  1828. 
Royal  Professor  and  member  of  the  Berlin  Academy,  also  member 
of  Vienna  and  Hanau.  Medals  at  Cologne,  Berlin,  and  Vienna. 
Studied  in  Hanau  under  Pelissier.     In  1849  went  to  the  Antwerp 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  265 


Academy  for  a  short  time.  In  1851  went  to  Paris,  where  he  remained 
six  years  ;  he  there  studied  a  short  time  under  Couture,  and  spent  a 
year  in  the  atelier  of  the  Triqueti.  He  visited  Italy,  England,  and 
Holland,  and  settled  in  Berlin.  His  subjects  are  principally  illus- 
trative of  German  history  and  literature.  At  the  National  Gallery, 
Berlin,  are  his  "  Luther  translating  the  Bible  "  and  the  "  Procession 
of  the  Dead."  His  picture  of  "  Luther  with  his  Family"  is  at  the 
Museum  at  Leipsic,  and  has  become  well  known  from  the  engraving 
by  Louis  Schulz.  He  occupied  himself  for  some  years  in  a  series  of 
pictures  from  the  life  of  Luther,  whom  he  has  depicted  with  his  com- 
panions and  occupations  in  a  very  graphic  manner.  He  has  thor- 
oughly studied  their  habits  and  customs,  he  represents  much  in 
detail,  and,  in  short,  gives  an  elevated  and  charming  idea  of  a 
cultured,  pure,  and  refined  life.  One  of  these  works,  "  Luther,  his 
Wife,  Children,  and  Melancthon,"  painted  in  1867,  is  in  the  collec- 
tion of  Mr.  Probasco  of  Cincinnati,  and  is,  perhaps,  the  only  work  by 
Spangenberg  in  the  United  States.  His  "Death  and  its  Cortege" 
(belonging  to  the  National  Gallery,  Berlin)  was  at  the  Paris  Exposi- 
tion, 1878. 

Spartali,  Marie  (Mrs.  William  J.  Stillman).  (Brit.)  Daugh- 
ter of  a  well-known  Greek  merchant,  who  has  been  for  many  years  a 
resident  of  London.  Miss  Spartali  was  a  pupil  of  Ford  Madox 
Brown,  and  is  one  of  the  most  prominent  disciples  of  that  artist's 
peculiar  school.  She  exhibited,  for  the  first  time  in  public,  at  the 
Dudley  Gallery  in  1867,  "  Lady  Pray's  Desire,"  followed  by  "  Chris- 
tiana," in  1868  ;  "  Burning  the  Love-Philter,"  in  1869.  To  the  Royal 
Academy,  in  1870,  she  sent  "St.  Barbara"  and  "The  Mystic 
Tryst "  ;  in  1873,  "  The  Finding  of  Sir  Launcelot  disguised  as  a 
Fool  "  ;  in  1875,  "  Mona  Lisa  "  ;  in  1876,  "  The  Last  Sight  of  Fiam- 
metta "  ;  in  1877,  "  Roses  and  Lilies."  To  the  Exhibition  of  the 
Water-Color  Society  at  the  National  Academy,  New  York,  she  sent 
"  Lilacs  and  Roses,"  "  Launcelot  and  Elaine,"  "  On  a  Balcony," 
"Tristram  and  Isolde,"  in  1875  ;  "Roses,"  in  1877  ;  and  "Bloom- 
Time,"  in  1878.  To  the  Centennial  Exhibition  at  Philadelphia  in 
1876  she  contributed,  "  Sir  Tristram  and  Queen  Yseult."  "  On  the 
Balcony"  belongs  to  Col.  John  Hay,  and  "Mona  Lisa"  to  Mrs. 
Charles  Fairchild  of  Boston. 

"Miss  Spartali  has  a  fine  power  of  fusing  the  emotion  of  her  subject  into  its  color, 
and  of  giving  aspiration  to  both  ;  beyond  what  is  actually  achieved  one  sees  a  reaching 
towards  something  ulterior.  As  one  pauses  before  her  work  a  film  in  that  or  in  the  mind 
lifts,  or  seems  meant  to  lift,  and  a  subtler  essence  from  within  the  picture  quickens  the 
sense.  In  short,  Miss  Spartali,  having  a  keen  perception  of  the  poetry  which  resides  in 
beauty  and  in  the  means  of  art  for  embodying  beauty,  succeeds  in  infusing  that  per- 
ception into  the  spectator  of  her  handiwork."  —  W.  M.  Rossetti,  in  English  Painters 
of  the  Present  Day,  1871. 

"  'The  Finding  of  Sir  Launcelot  disguised  as  a  Fool'  and  'Sir  Tristram  and  La  Belle 
Fonde  '  [R.  A.,  1873,  both  in  water-color]  are  two  illustrations  of  the  'Mort  d'Arthur ' 
whiGh  have  many  commendable  artistic  qualities.  Mrs.  Stillman  has  brought  imagina- 
12* 


266     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tion  to  her  work.  These  vistas  of  garden  landscape  are  conceived  in  the  true  spirit  of 
romantic  luxuriance,  when  the  beauty  of  each  separate  flower  was  a  delight.  The 
figures,  too,  have  a  grace  that  belongs  properly  to  art,  and  which  has  been  well  fitted  to 
the  condition  of  pictorial  expression.  The  least  satisfactory  part  of  these  clever  draw- 
ings is  their  color.  There  is  an  evident  feeling  of  harmony,  but  the  effect  is  confused, 
and  the  prevailing  tones  are  uncomfortably  warm."  —  Art  Journal,  July,  1873. 

Spencer,  Frederick  R.,  N.  A.  (Am.)  (1805  -  1875.)  Studied 
without  a  master  in  his  native  village,  Canistota,  N.  Y.,  where  he 
practiced  his  profession  as  a  portrait-painter  until  he  settled  in  New 
York  about  1830.  He  was  elected  Associate  of  the  National  Acad- 
emy in  1837,  and  Academician  in  1846,  painting  the  portraits  of  many 
distinguished  men.  He  retired  to  Canistota  in  1853.  His  name 
rarely  appeared  in  the  catalogues  of  the  metropolitan  exhibitions  after 
that  year,  although  he  continued  to  paint  until  the  time  of  his  death. 

"  Mr.  Spencer  carried  his  work  to  a  high  degree  of  finish,  and  in  his  style  resembled, 
in  a  measure,  that  of  the  late  Henry  Inman.  He  was  generally  successful  in  procuring 
the  likeness  of  a  sitter."  —  Art  Journal,  May,  1875. 

Spertini,  Giovanni.  (Ital.)  Of  Milan.  At  Philadelphia  he 
exhibited  a  bas-relief  in  terra-cotta,  "  The  Modern  Cain,"  "  Love's 
Messenger,"  and  a  portrait  of  Giuseppe  Dassi,  Vice-President  of  the 
Italian  Centennial  Commission.    He  received  a  medal. 

Spread,  Henry  F.  (Brit.-Am.)  Born  at  Kinsale,  Ireland,  1844. 
He  studied  art  for  four  or  five  years  at  the  schools  of  South  Kensington, 
gaining  several  prizes.  Later,  he  studied  painting  in  water-colors  un- 
der Eiviere  and  Warren.  In  1863  he  went  to  Brussels,  and  became 
a  pupil  of  Slingeneyer.  The  next  year  he  visited  Australia,  settling  in 
Melbourne,  where  he  painted  many  portraits,  making  sketching-tours 
in  New  Zealand  and  Tasmania.  He  removed  to  the  United  States 
in  1870,  spent  a  few  months  in  New  York,  and  settled  in  Chicago, 
where  his  studio  now  is.  He  is  a  member  of  the  Chicago  Academy 
of  Design.  Among  his  more  important  works  are,  "  The  Bard,"  in 
the  collection  of  Mr.  St.  Clair,  London  ;  "  Thoughts  of  Home,"  now 
in  Melbourne  ;  "  Chicago  rising  from  her  Ashes,"  belonging  to  Mor- 
ris Martin  ;  "  The  Roman  Honey-Girl,"  also  owned  in  Chicago,  and 
many  portraits. 

Spring,  Edward  A.    (Am)    Born  in  the  city  of  New  York  in 
1837.    His  first  visit  to  Europe  was  made  in  1846-47,  when,  at  the 
age  of  nine  years,  he  modeled  a  head  of  "  Medusa  "  in  the  studio  of 
Hiram  Powers.    In  1852  he  drew  from  casts  in  the  studio  of  H.  K. 
•  Brown,  the  winter  of  1861-62  he  spent  in  the  studio  of  J.  Q.  A. 

"Ward,  and  he  studied  under  Dr.  Rimmer  in  1864  and  '65.  Besides 
these,  he  has  spent  five  years  in  study  in  England  and  France.  In 
1862  Mr.  Spring  occupied  a  large  studio  with  William  Page,  N.  A.,  at 
Eagleswood,  N.  J.  In  1868  he  discovered  in  the  neighborhood  fine 
modeling  clay,  peculiarly  suitable  for  terra-cotta  work,  and  turned  his 
attention  to  that  branch  of  art,  establishing  the  Eagleswood  Art  Pot- 
tery Company  in  1877.    He  exhibited  at  the  National  Academy,  N.  Y. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  267 


a  bust  of  Mazzini  in  1873,  and  a  number  of  terra-cotta  works  in  1878. 
In  1876  he  exhibited  over  two  hundred  objects  in  clay  in  Washington, 
illustrating  many  branches  of  scientific  and  art  study,  which  now 
belong  to  the  National  Museum  of  Education.  Mr.  Spring  has  been 
favorably  known  as  a  lecturer  in  different  American  cities,  and  is  suc- 
cessful as  an  instructor.  Of  his  lectures  in  Boston,  in  1875,  the  Ad- 
vertiser of  that  city  said  :  — 

"  His  genuine  enthusiasm  for  art  in  every  form,  and  generous  aid  in  endeavoring 
to  spread  the  art  idea  by  his  practical  lectures  on  modeling  and  instructive  conversa- 
tions, will  be  long  remembered  by  those  who  have  enjoyed  them.  We  hope  Mr.  Spring 
may  find  it  to  his  advantage  to  return  to  Boston  and  make  it  his  home. " 

Sprosse,  Carl.  (Ger.)  Born  in  Leipsic  (1819  -  1874).  He  was 
a  very  poor  boy,  and  struggled  for  the  merest  existence.  Water- 
color  painter  of  architectural  subjects.  His  views  at  Venice  and 
those  of  Roman  ruins  are  among  his  best  works.  Later,  he  painted 
some  Grecian  views.  At  the  Museum  at  Leipsic  are,  "  The  Interior 
of  a  Gothic  Church,"  "  View  of  an  Ancient  Cemetery,"  "  View  of  the 
Cathedral  at  Regensburg." 

Stacquet,  N.  Lives  at  Brussels.  We  only  know  this  artist  by 
his  small  water-color  pictures,  exhibited  in  America  of  late  by  Mr. 
Daniel  Cottier.  Two  of  them,  belonging  to  Mr.  W.  L.  Andrews, 
were  in  the  Exhibition  of  the  Water-Color  Society  of  New  York, 
early  in  the  winter  of  1878.  Mr.  Clarence  Cook  spoke  of  them  as 
worthy  of  the  admiration  they  received,  and  said  they  were  "  expres- 
sive of  the  artist's  love  for  what  is  tenderest  and  most  evanescent  in 
natural  beauty." 

Staigg,  Richard  M.,  N.  A.  (Brit.-Am.)  Native  of  Leeds,  England, 
but  taken  to  America  in  his  youth,  having  previously  received  no  art 
education,  except  such  as  was  gathered  during  a  short  season  of  em- 
ployment as  a  draughtsman  in  an  architect's  office,  and  a  few  evenings' 
instruction  at  the  Leeds  Mechanical  Institute.  He  began  the  practice 
of  art  at  Newport,  R.  I.,  as  a  miniaturist,  receiving  there  encourage- 
ment and  valuable  assistance  from  Allston.  His  excellent  miniatures 
of  Allston,  Everett,  Webster,  and  others  are  well  known  through  the 
engraved  copies  of  them.  Some  of  his  portraits  on  ivory,  exhibited 
at  the  Royal  Academy,  excited  considerable  attention  from  English 
art  critics  and  connoisseurs.  He  was  elected  a  member  of  the  Na- 
tional Academy,  N.  Y.,  in  1861,  and  has  been  a  member  of  the  Boston 
Art  Club  for  some  years.  He  went  to  Paris  in  1867,  remaining  until 
1869,  and  exhibiting  at  the  Salon  of  1868  portraits  of  the  sons  of 
John  Munroe  the  banker  and  of  the  daughter  of  Richard  Green- 
ough.  He  went  to  Europe  again  in  1872,  and  spent  two  years. 
Since  his  return  he  has  painted  portraits  in  Boston  and  Newport,  with 
an  occasional  genre  picture  and  landscape  study.  Among  his  earlier 
works  are,  "  The  Crossing-Sweeper,"  "  The  Sailor's  Grave,"  "  Cat's 
Cradle,"  "  News  from  the  War,"  "  By  the  Sad  Sea  Waves,"  "  Beach 


268     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


at  Newport,"  "  Moonlight,"."  Gathering  Fagots,"  and  "  Going  Home 
in  the  Snow."  He  exhibited  at  the  National  Academy,  N.  Y.,  in 
1870,  "  First  Steps,"  "  St.  Jerome,"  "  The  Lesson,"  and  several  por- 
traits ;  in  1875,  "The  Italian  Chestnut-Gatherer " ;  in  1876,  "Italian 
Peasant  Knitting  "  ;  in  1877,  "  Italian  Girl's  Head" ;  in  1878,  "  Boy's 
Head"  and  "Margaret."  His  "  Empty  Nest"  and  "Cornice  Road, 
Italy  "  were  at  the  Philadelphia  Exhibition  of  1876.    [Died,  1881.] 

"  Staigg  has  painted  several  remarkable  portraits,  wherein  the  character  and  tone  are 

masterly,  and  the  skill  exhibited  as  delicate  as  it  is  truthful  He  has  a  fine  feeling 

and  delicate  insight ;  there  is  nothing  crude  or  exaggerated  in  his  style,  and  he  compre- 
hends the  refinements  of  his  art,  of  which  his  ideal  is  exalted,  and  to  which  his  devotion 
has  been  single  and  earnest."  —  Tuckerman's  Book  of  the  Artists. 

Stallaert,  Joseph.  (Belgian.)  Medal  at  Philadelphia,  where  he 
exhibited  "  Palm  Sunday,  Albano,  Italy,"  "  The  Fan,"  and  "  The  Cel- 
lar of  Diomede,  —  Scene  at  the  Destruction  of  Pompeii."  At  Paris,  in 
1877,  was  his  "  Polyxena  sacrificed  to  the  Manes  of  Achilles."  To  the 
Exposition  of  1878  he  sent  "The  Death  of  Dido,"  "  The  Sacrifice  of 
Polyxena,"  and  "  The  Last  Combat  of  the  Gladiators." 

Stanfield,  Clarkson,  R.  A.  (Brit.)  (1793  - 1867.)  Began  life 
as  a  sailor.  With  a  decided  taste  for  art  from  his  youth,  and  fondness 
for  the  drama,  he  became  a  scene-painter,  exhibiting  his  first  pictures 
of  a  smaller  character  in  the  galleries  of  the  Society  of  British  Artists, 
of  which  he  was  an  original  member  in  1823.  His  "  Wreckers  off 
Fort  Rouge,"  one  of  the  earliest  of  his  important  works,  was  at  the 
British  Institute  in  1827.  He  first  exhibited  at  the  Royal  Academy 
about  the  same  year,  and  was  elected  an  Associate  in  1832,  and  Acad- 
emician in  1835.  He  traveled  extensively  on  the  Continent,  painting 
many  landscapes,  but  his  most  successful  works  were  his  marine 
views,  many  of  which  have  been  engraved.  His  "  Battle  of  Trafalgar  " 
belongs  to  the  United  Service  Club  in  London  ;  his  "  Wind  against 
Tide"  (in  the  Paris  Exposition  of  1855)  was  painted  for  Robert  Ste- 
phenson. "The  Victory  towed  into  Gibraltar  after  Trafalgar"  and 
the  "  Siege  of  St.  Sebastian  "  were  in  the  collection  of  Sir  Morton 
Peto.  In  the  National  Gallery,  London,  are  his  "  Entrance  to  the 
Zuyder  Zee  "  (R.  A.,  1844),  a  sketch  of  his  "  Battle  of  Trafalgar," 
his  "  Lake  of  Como,"  and  "  The  Canal  of  the  Giudecca."  His 
pictures  are  very  popular  and  command  very  high  prices.  At  the  sale 
of  the  collection  of  Charles  Dickens,  in  1871,  a  thousand  guineas  were 
given  for  a  view  of  "  Eddystone  Lighthouse,"  a  scene  painted  by  Stan- 
field  in  the  course  of  a  few  hours  for  one  of  the  famous  amateur  plays 
organized  by  Dickens  and  his  friends. 

Stanfield,  George  C.  (Brit.)  Son  of  Clarkson  Stanfield.  Has  ex- 
hibited frequently  at  the  Royal  Academy  for  some  years,  sending,  in 
1860,  "  The  Church  of  St.  Michael,  Ghent";  in  1861,  "Saarburg  Cas- 
tle ";  in  1863, "  On  the  Lahn  "  ;  in  1864,  "  The  Amphitheater,  Yerona"; 
in  1867,  "At  Luzern"  ;  in  1868,  "Angers"  ;  in  1871,  "A  view  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  269 


Brittany";  in  1872,  "Dunbar  Castle,  Scotland";  in  1873,  "Holy 
Island,  Northumberland"  ;  in  1875,  "Entrance  to  the  Harbor  of  La 
Rochelle,  France"  ;  in  1876,  "On  the  Banks  of  the  Nile,  Upper 
Egypt." 

Stanhope,  R.  Spencer.  (Brit.)  An  English  artist,  belonging  to 
the  pre-Raphaelite  school.  He  first  exhibited  at  the  Royal  Acad- 
emy about  1860.  In  1862  he  sent  "The  Flight  into  Egypt"  ;  in 
1864,  "  Rizpah  "  ;  in  1865,  "  Beauty  and  the  Beast "  ;  in  1868,  "  The 
Footsteps  of  the  Flock"  ;  in  1869,  "The  Rape  of  Proserpine"  ;  etc. 
The  more  important  of  his  later  works  have  appeared  in  the  Grosvenor 
Gallery,  including  "  Eve  Tempted,"  "  Love  and  the  Maiden,"  and 
"  On  the  Banks  of  the  Styx,"  in  1877  ;  and  "  Night,"  "  Morning," 
"  The  Sulamite,"  and  "  Cupid  and  Psyche,"  the  following  year. 
His  "  Water-Gate  "  and  "  On  the  Banks  of  the  Styx"  were  at  the  Paris 
Exposition  of  1878. 

Stebbins,  Emma.  (Am.)  A  native  of  New  York,  where,  as  an 
amateur,  she  distinguished  herself  by  her  drawings  in  black  and 
white,  and  her  paintings  in  oil.  Going  to  Italy  some  years  ago,  she 
settled  in  Rome,  where  she  worked  and  studied  assiduously  as  a 
sculptor.  Her  earliest  important  work  was  a  statuette  of  "  Joseph," 
followed  by  "  Columbus,"  "  Satan  descending  to  tempt  Mankind," 
etc.  She  executed  for  the  Central  Park,  New  York,  a  large  fountain, 
the  subject  of  which  is  "  The  Angel  of  the  Waters."  She  is  the 
author  of  the  biography  of  her  friend,  Charlotte  Cushman. 

[No  response  to  circular.] 

Steell,  Sir  John.  (Brit.)  Born  in  Aberdeen  in  1804.  He 
studied  art  in  Edinburgh,  and  later  in  Italy,  remaining  in  Rome  un- 
til 1833,  when  he  opened  a  studio  in  Edinburgh,  where  he  has  since 
resided.  His  statue  of  Sir  Walter  Scott,  in  Carrara  marble,  in  the 
well-known  Scott  monument,  on  Princess  street,  Edinburgh,  first 
brought  him  into  prominent  notice  as  a  sculptor.  A  duplicate  in  bronze 
of  this  figure,  cast  in  1873,  is  now  in  the  Central  Park,  New  York,  and 
a  companion  statue  of  Robert  Burns  is  at  present  (1878)  in  course  of 
construction.  Among  the  better  known  of  Sir  John  Steell's  works 
are  the  statues  of  Wellington,  Professor  Wilson,  Allan  Ramsay,  and 
Thomas  Chalmers,  all  in  bronze,  and  in  the  public  streets  of  Edin- 
burgh, and  the  statue  of  the  Queen  in  the  Royal  Institution  in  the 
same  city.  He  executed  the  monument  to  the  42d  Highland  Regi- 
ment at  the  Cathedral  of  Dunkeld  ;  the  monument  to  the  93d  High- 
landers in  Glasgow  Cathedral  ;  statues  of  Lord  Melville  and  Jeffrey  ; 
busts  of  the  Queen,  Prince  Albert,  Duke  of  Wellington,  Duke  of 
Edinburgh,  Florence  Nightingale  (the  only  portrait  of  any  kind  for 
which  she  ever  sat),  and  many  more.  His  last  and  perhaps  most  im- 
portant work  is  the  Scottish  National  Memorial  to  the  Prince  Consort, 
in  Charlotte  Square,  Edinburgh,  upon  the  unveiling  of  which  by  the 
Queen,  in  the  summer  of  1876,  the  sculptor  received  the  honor  of 


270     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


knighthood.  Early  in  his  career  he  was  appointed  Her  Majesty's 
Sculptor  for  Scotland  ;  he  has  been  a  member  of  the  Royal  Scottish 
Academy  for  many  years. 

"  The  memorial  has  been  for  twelve  years  in  course  of  design  and  construction.  It 
was  proposed  soon  after  Prince  Albert's  death,  and  has  been  paid  for  by  public  subscrip- 
tion. It  is  a  colossal  equestrian  statue  in  bronze,  upon  a  pedestal  of  Aberdeen  granite, 
the  whole  about  thirty  feet  in  height.  The  Prince  is  in  military  costume,  and  his  hand- 
some German  face  and  figure  are  said  by  persons  who  knew  him  well  to  be  faithfully 
portrayed.  Horse  and  rider  are  gracefully  and  naturally  posed,  and  the  effect  is  artisti- 
cally fine."  —  New  York  Evening  Post,  September  2,  1876. 

Steell,  Gourlay.  (Brit.)  Born  in  Edinburgh,  where  he  was 
educated,  and  where  his  professional  life  has  been  spent.  He  is  a 
younger  brother  of  Sir  John  Steell.  A  painter  of  animals  and  of 
scenes  in  humble  Scottish  life.  He  is  a  member  of  the  Royal  Scot- 
tish Academy,  exhibiting  there  and  at  the  Royal  Academy  in  London. 
On  the  death  of  Landseer,  in  1873,  he  was  appointed  Animal  Painter 
for  Scotland  to  the  Queen.  Among  his  later  works  are,  "A 
Challenge  "  (Highland  bulls),  "  On  the  Trail  of  the  Deer,"  "  Noble, 
Waldman,  and  Corran  "  (favorite  dogs  of  the  Queen,  to  whom  the 
picture  belongs),  "  The  Open  Window  "  (water-color),  "  Rough  Art- 
Critics,"  "When  Greek  meets  Greek," "  Death  of  Old  Mortality," 
etc.  His  "  Spring  in  the  Highlands  "  belongs  to  J.  H.  Sherwood. 
His  "  Robbie  Burns  and  the  Field  Mouse,"  "  Visit  of  the  Queen  to  a 
Highland  Cottage,"  and  others  have  been  engraved. 

Steffeck,  Karl  Constantin  Heinrich.  (Ger.)  Bom  at  Berlin, 
1818.  Professor  and  member  of  the  Berlin  Academy  ;  also  member 
of  the  Vienna  Academy.  Medals  at  Berlin,  Paris,  and  Philadelphia. 
Studied  at  Berlin  Academy  under  Franz  Kriiger  and  Karl  Begas,  and 
then  at  Paris  under  Delaroche.  Visited  Rome,  and  in  1842  returned 
to  Berlin.  At  first  he  painted  historical  subjects  ;  later,  animals  and 
sporting  scenes.  He  has  executed  a  quantity  of  lithographs  and  etch- 
ings, —  many  of  these  are  studies  of  horses.  At  the  National  Gal- 
lery, Berlin,  is  his  "  Albert  Achilles  in  the  Struggle  with  the  Nurem- 
bergers,  1450,"  painted  in  1848.  At  Berlin,  in  1876,  he  exhibited  a 
portrait  of  the  Emperor  and  a  "  Gypsy  Scene  "  ;  and  at  Paris,  in  1878, 
"  Attrape  ! !  "  belonging  to  the  Emperor  of  Germany,  and  "  Chez 
l'accouchee,"  belonging  to  Baron  von  Arnim. 

Steinbriick,  Eduard.  (Ger.)  Born  at  Magdebourg,  1802.  Mem- 
ber and  Professor  of  the  Berlin  Academy.  Pupil  of  Wach.  He  has 
painted  "  Mary  kneeling  before  her  Son,"  for  the  church  of  St. 
Jacques  at  Magdebourg,  and  a  few  landscapes,  but  most  of  his  sub- 
jects may  be  called  romantic  genre.  At  the  Berlin  National  Gallery 
are,  "  Children  Bathing  "  and  "  Marie  with  the  Elves."  Among  his 
works  are,  "  The  Elves,"  "  The  Nymphs,"  "  Red  Riding-Hood,"  "  Un- 
dine in  a  Boat,"  etc. 

Steinheil,  Louis-Charles-Auguste.  (Fr.)  Born  at  Strasbourg, 
1814.    Chevalier  of  the  Legion  of  Honor.    Pupil  of  Decaisne.  This 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  271 


artist  has  gained  a  large  part  of  his  reputation  by  his  mural  and  glass 
painting.  He  has  executed  pictures  in  almost  every  kind  of  style, 
and  works  in  water-colors  as  well  as  oils.  In  1876  he  received  the 
commission  to  execute  some  frescos  in  the  Cathedral  of  Strasbourg. 

Steinle,  Eduard.  Born  at  Vienna,  1810.  Member  of  the  Acad- 
emies of  Berlin,  Vienna,  Munich,  and  Hanau.  Medals  at  Berlin  and 
Paris.  Pupil  of  the  Academy  of  Vienna  and  of  Cornelius  at  Rome. 
Professor  at  Frankfort.  His  decorative  paintings  are  at  the  Chateau 
Reineck,  the  Cathedral  of  Cologne,  the  Museum  of  Cologne,  the  Im- 
perial Hall  of  Frankfort,  at  Riga,  in  the  church  of  Saint  iEgidius  at 
Miinster,  and  in  other  places.  The  cartoons  of  the  last  named  are  in 
the  Leipsic  Museum.  In  the  Berlin  National  Gallery  there  are  also 
cartoons  from  the  "  World's  History,"  and  some  scenes  from  Shaks- 
pere's  "  Twelfth  Night "  or  "  What  You  Will."  To  the  Paris  Exposi- 
tion, 1878,  he  sent  "  The  Virgin  and  Child,"  in  water-color,  belonging 
to  the  Princess  Marie  de  Lichtenstein,  and  cartoons  of  nine  frescos  in 
the  chapel  of  the  Princes  of  Lowenstein  at  Heubach-sur-Mein,  and 
ten  others  from  frescos  at  the  Museum  of  Cologne. 

Stephens,  Edward  B.,  A.  R.  A.  {Brit.)  A  native  of  Exeter. 
He  entered  the  schools  of  the  Royal  Academy  at  an  early  age,  and  in 
1843  gained  the  gold  medal  for  a  work  in  alto-relievo.  Later,  he  went 
to  the  Continent,  remaining  three  years  in  the  study  of  sculpture  at 
Rome.  To  the  Great  Exhibition  in  London,  in  1851,  he  sent  "  Satan 
Vanquished  "  and  "  Satan  tempting  Eve."  Among  his  earlier  works 
are,  "  Eve  contemplating  Death,"  "  Angel  of  the  Resurrection,"  etc. 
To  the  Royal  Academy,  in  1861,  he  contributed,  "  Evening,  —  Going 
to  the  Bath,"  a  group  in  marble  ;  in  1863,  "  Alfred  the  Great  in  the, 
Neatherd's  Cottage "  (purchased  by  the  Corporation  of  the  City  of 
London,  and  now  in  the  Mansion  House)  ;  in  1865,  when  he  was 
elected  an  Associate  of  the  Royal  Academy,  "  Euphrosyne  and  Cu- 
pid "  ;  in  1867,  "Lady  Godiva";  in  1868,  "Coaxing";  in  1869, 
"  Saved  from  the  Wreck"  ;  in  1871,  "  Zingari"  ;  in  1873,  "A  Deer- 
Stalker"  ;  in  1874,  "Leander";  in  1875,  "Evening"  and  "Morn- 
ing" ;  in  1876,  "The  Bathers"  ;  in  1878,  "The  Little  Carpenter." 
He  has  also  executed  many  statues  and  busts.  [1816-1882.] 

Stevens,  John.  {Brit)  Born  in  Ayr  (about  1793-1868).  En- 
tered the  schools  of  the  Royal  Academy  in  London  in  1815,  gaining 
in  1818  two  silver  medals.  He  practiced  portrait-painting  in  his 
native  town  for  a  few  years,  when  he  went  to  Italy,  settling  in  Rome, 
and  making  that  city  his  home  for  many  winters.  He  was  a  member 
of  the  Royal  Scottish  Academy.  His  "  Standard-Bearer  "  is  in  the 
Scottish  National  Gallery. 

Stevens,  Alfred  G.  (Brit.)  Born  in  Blandford,  Dorsetshire  (1817  - 
1875).  He  displayed  marked  talent  for  painting  as  a  child,  and 
at  the  age  of  sixteen  he  went  to  Italy,  studying  the  works  of  Sal- 
vator  Rosa  in  Florence.    Later,  he  entered  the  studio  of  Thorwaldsen 


272     ARTISTS  OF  THE  NINETEENTH  CENTURY 


in  Rome,  turning  his  attention  to  plastic  art,  and  remaining  with  that 
master  for  some  years.  He  returned  to  England  in  1843,  when  he 
settled  in  London,  and  connected  himself  with  the  Art  Schools  of 
Somerset  House.  In  1850  he  removed  to  Sheffield,  executing  what  is 
known  as  "  decorative  work,"  in  iron  and  silver,  for  manufacturing 
firms  of  that  city.  He  received  in  1857  the  commission  from  govern- 
ment for  the  great  work  of  his  life,  the  monument  to  the  Duke  of 
Wellington  in  St.  Paul's  Cathedral,  London.  The  sum  voted  by  Par- 
liament (£  14,000)  for  the  execution  of  this  commission  was  utterly 
insufficient  and  exhausted  long  before  its  completion.  He  expended 
upon  it  much  of  his  private  means,  was  censured  for  his  delays  in  the 
work,  and  suffered  much  grief  and  disappointment  during  its  progress, 
leaving  it  unfinished  at  his  death,  eighteen  years  after  the  commission 
was  given  him.  It  has  nevertheless  added  greatly  to  his  fame  as  a 
sculptor.  He  was  the  author  of  several  admirable  portrait  busts  of 
the  members  of  the  family  of  his  friend,  Mr.  Collman,  and  others. 
He  executed  the  mosaic  "  Isaiah  "  in  the  arch  of  the  dome  of  St. 
Paul's,  turning  his  attention  also  to  painting  and  architecture. 

"  Stevens'  figures  were  always  (like  nearly  all  first-rate  sculpture  in  the  best  times) 
part  and  parcel  of  something  else.  Sculpture  was  to  him  as  intimately  related  to  archi- 
tecture as  was  his  own  flesh  to  his  own  hones,  and  so  we  find  that  his  noblest  sculptured 
works,  —  the  life-sized  marble  figures  in  Dorchester  House,  and  the  bronze  figures  of  the 
Wellington  memorial,  —  are,  like  the  best  sculpture  of  which  the  world  knows,  integral 
and  essential  parts  of  architectural  compositions.  Since  Michael  Angelo  made  the 
monument  to  Lorenzo  de  Medici,  no  stronger  nor  more  vigorous  work  has  been  made  in 
marble  than  these  Dorchester  House  figures.  The  pose  of  them,  the  manner  in  which 
the  heads  and  shoulders  are  related  to  the  cornice  over  them,  the  modeling  of  the  flesh, 
all  speak  of  an  artist  greater  than  our  modern  scale  of  measurement  can  by  any  possi- 
bility gauge.  These  figures  belong  to  the  culminating  period  of  Stevens'  career,  and 
are  contemporary  with  the  groups  of  the  Wellington  monument,  his  last  and  crowning 
work."  —  Edward  W.  Godwin,  F.  S.  A.,  Art  Monthly  Review. 

"  Those  interested  in  such  matters,  however,  were  well  aware  that  Stevens  had  de- 
signed some  of  the  finest  works  of  the  day  ;  innumerable  decorative  objects  of  daily  use, 
distinguished  by  the  finest  taste,  decorations  proper  in  metal,  stone,  and  marble,  to  say 
nothing  of  works  of  higher  pretensions,  with  which  the  names  of  manufacturers,  rather 
than  of  the  real  designer,  were  associated.  A  fine  example  of  his  peculiar  skill  is  seen 
by  those  who  pass  the  British  Museum,  and  admire,  probably  without  knowing  to  whom 
they  are  indebted  for  them,  the  excellent  designs  of  the  little  sejant  lions  on  the  iron 
posts  before  the  grille,  and,  we  believe,  the  very  handsome  grille  itself.  In  fact,  his 
works  are  numerous,  yet  they  rarely  bear  his  name."  —  Athenceum,  May  8,  1875. 

Stevens,  Joseph.  (Belgian.)  Born  at  Brussels,  1819.  Chevalier 
of  the  Orders  of  Leopold  and  of  the  Legion  of  Honor.  After  studying 
at  Paris,  he  made  his  debut  at  the  Salon  at  Brussels  in  1844  and  at 
Paris  in  1847.  He  continued  to  exhibit  at  Paris  until  1863,  since 
which  time  he  has  appeared  at  but  one  Salon,  that  of  1870,  with  "  The 
Intervention."  He  paints  genre  subjects,  very  frequently  with  ani- 
mals, and  holds  a  high  rank  among  artists  of  this  type.  Among  his 
works  are,  "  The  Surprise,"  "An  Episode  in  the  Dog- Market  at  Paris," 
«  The  Dog  and  the  Fly  "  (at  Paris  in  1878),  "  A  Philosopher  without 
knowing  it,"  "  The  Kitchen,"  "  The  Corner  of  the  Fire,"  etc. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  273 


"  Rarely  have  the  Dutch  or  Flemish  artists  done  better  than  Joseph  Stevens  in  his 
4  Kitchen.'  It  is  an  interior  animated  by  no  figure  ;  no  interesting  cook  paring  the  vege- 
tables while  listening  to  a  lover  leaning  on  the  window-sill ;  no  scullion  in  a  white  cap 
licking  the  sauce  from  his  fingers.  Joseph  Stevens  has  disdained  these  vulgar  artifices  ; 
he  has  painted,  with  masterly  dexterity,  the  chimney  in  brown  tones,  the  stove  backed 
with  faience,  without  other  objects  than  the  great  iron  fire-dogs,  the  toothed  turnspit, 
the  stewpans  polished  like  antique  shields,  the  kettles  glittering,  the  coffee-pots  prat- 
tling ;  all  this  is  of  a  color  so  true,  strong,  and  beautiful,  and  so  broadly  and  at  the  same 
time  so  exactly  rendered,  that  we  arrest  ourselves  before  the  '  Kitchen '  as  before  a  Peter 
de  Hooge."  —  Theophile  Gautier,  Abecedaire  du  Salon  de  1861. 

Stevens,  Alfred.  (Belgian.)  Born  at  Brussels,  1828.  Officer  of  the 
Order  of  Leopold.  Commander  of  the  Order  of  St.  Michael  of  Bavaria, 
Commander  of  the  Order  of  Ferdinand  of  Austria,  and  Officer  of  the 
Legion  of  Honor.  Pupil  of  Navez  in  Belgium,  and  of  Roqueplan  at 
Paris.  This  painter  represents  scenes  from  modem  life,  and  repro- 
duces with  great  exactness  the  costumes,  furniture,  etc.,  of  the  time. 
He  has  exhibited  his  works  in  Brussels  and  Paris  since  1849,  and  in 
reality  belongs  to  the  schools  of  two  countries.  Stevens  sent  eighteen 
pictures  to  the  Exposition  of  1867  ;  among  them  were,  "  The  Visit  " 
(purchased  by  the  King  of  Belgium),  "La  Dame  Rose"  (purchased  for 
the  Museum  at  Brussels),  "  Consolation,"  "  Innocence,"  "  Ophelia," 
"A  Duchess,"  "A  Morning  in  the  Country,"  "A  Good  Letter,"  etc. 
At  a  sale  in  Brussels,  in  1874,  "The  New  Year's  Gift"  sold  for 
£  840.  Among  his  later  works  are  "  The  Bath  "  and  "  The  Japanese 
Woman."  At  the  Latham  sale,  New  York,  1878,  "  Springtime  of 
Life  "  (49  by  19)  sold  for  $  1,050. 

"We  have  been  able  to  follow  this  painter  (who  has  grown  in  Prance,  and  who  belongs 
to  two  schools)  since  his  debut.  With  pleasure  we  have  seen  him  abandon,  little  by 
little,  his  first  manner,  in  which  solidity  degenerated  into  heaviness,  in  which  the  strong 
tones  too  nearly  approached  black.  Stevens  has  been  transformed  under  our  eyes,  and, 
while  remaining  earnest,  he  has  become  one  of  the  best  of  the  painters  of  modern  elegan- 
ces In  'La  dame  rose,'  in  'Une  bonne  lettre,'  the  faces  of  the  charming  little 

women  painted  by  Stevens  are  veiled  by  an  obscure  tint,  which  threatens,  by  the  action 
of  time,  to  become  darker.  To  tell  the  truth,  it  is  the  only  fault  which  troubles  us  in 
these  pictures,  so  well  done,  so  charming  to  see,  and  which,  taking  in  the  daily  realities 
of  modern  life,  will  always  tell  of  its  costumes,  furniture,  and  elegances."  —  Paul 
Mantz,  Gazette  des  Beaux-Arts,  July,  1867. 

Stever,  Gustav  Curt.  (Russian.)  Born  at  Riga  (1823-1877). 
Honorary  Cross  of  the  Order  of  the  House  of  Mecklenburg.  Studied 
at  the  Academy  of  Berlin.  In  1850  he  went  to  Stockholm  to  paint 
portraits  and  execute  other  commissions.  In  1854  he  went  to  Paris 
and  studied  under  Couture.  Among  his  works  are,  "  The  Death  of 
Gottschalk,  King  of  the  Wendens,"  "  King  David  and  Abishag,  the 
Shunamite,"  "  The  Angel  of  Prayer,"  "  The  Last  Supper,"  and  "  The 
Transfiguration."  In  1859  he  settled  at  Hamburg,  where  he  was  much 
employed.  In  1865  he  removed  to  Diisseldorf,  and  there  painted  more 
religious  pictures  as  well  as  genre  subjects,  such  as  "  Vandyck  at  his 
Easel,"  "  Jean  Mabuse  painting  his  Dead  Child,"  etc.  He  was  a  suc- 
cessful instructor,  and  executed  some  excellent  portraits.    His  picture 

12*  K 


274     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  "Master  Adam  van  Noort  surprising  his  Pupil  Rubens  at  his  Secret 
Studies"  attracted  much  attention  at  the  Exposition  at  Berlin  in 
1871. 

Stocks,  Lurab,  E.  A.  {Brit.)  Born  in  1812.  He  began  his  ca- 
reer as  a  line-engraver  when  about  twenty-one  years  of  age,  furnish- 
ing illustrations  for  fine  editions  of  English  books  ;  and,  later,  plates 
of  a  larger  and  more  important  character,  such  as  Webster's  "  Dame 
School,"  Paton's  "  Olivia  and  Viola,"  Maclise's  "  Fitting  Moses  for  the 
Fair  "  and  the  "  Meeting  of  Wellington  and  Blucher  on  the  Field  of 
Waterloo,"  Wilkie's  "  Gentle  Shepherd,"  T.  Faed's  "  Silken  Gown," 
Mulready's  "  Fight  Interrupted,"  Horsley's  "  Deserted,"  E.  M.  Ward's 
'*  Marie  Antoinette  in  Prison  "  and  "  Charlotte  Corday  in  the  Concier- 
gerie."  He  was  elected  an  Associate  Engraver  of  the  Royal  Academy 
in  1853,  and  Academician  in  1872. 

Stone,  Frank,  A.  R.  A.  (Brit.)  Born  in  Manchester  (1800- 
1859).  He  had  no  instruction  in  art,  and  did  not  adopt  it  as  a  pro- 
fession until  1825,  devoting  himself  in  the  beginning  of  his  career  to 
water-color  drawing.  He  joined  the  Old  Water-Color  Society  in  Lon- 
don in  1832,  remaining  a  member  about  fifteen  years.  His  first  pic- 
ture appeared  on  the  walls  of  the  Royal  Academy  in  1837.  In  1840 
he  exhibited  "  The  Legend  of  Montrose,"  his  first  important  work  in 
oil,  followed  by  the  "  Stolen  Interview  between  Prince  Charles  and 
the  Infanta  of  Spain,"  in  1841  ;  "  The  Last  Appeal,"  in  1843  ;  "  The 
Course  of  True  Love,"  in  1844  ;  "  Ophelia  and  the  Queen,"  in  1845  ; 
"The  Impending  Mate  "  and  "Mated,"  in  1847;  "  The  Gardener's 
Daughter,"  in  1850;  "A  Scene  from  the  Merchant  of  Venice,"  in 
1851,  when  he  was  elected  Associate  of  the  Royal  Academy  ;  "  The 
Old  Old  Story,"  in  1854  ;  "  Bon  jour,  messieurs,"  in  1857  ;  and  the 
"  Missing  Boat,"  in  1858  :  many  of  which  have  been  engraved. 

"  Frank  Stone  was  one  of  the  most  graceful  of  English  genre  painters.  His  subjects 
are  commonly  of  a  sentimental  character,  and  distinguished,  for  their  delicate  allusions 
to  the  '  gentle  passion,'  and  his  young  women  certainly  seem  very  lovable  persons.  In 
later  years  he  turned  his  attention  much  to  French  subjects,  illustrating  local  manners 
and  customs."  —  Wornum's  Epochs  of  Painting. 

Stone,  Horatio.  (Am)  (1810-1875.)  He  was  a  native  of  New 
England,  and  a  practicing  physician  in  New  York  for  some  time. 
He  went  to  Washington  about  1848,  devoting,  after  that  period,  his 
entire  attention  to  sculpture,  executing  several  statues  and  busts  of 
public  men,  —  Chief  Justice  Taney,  Thomas  Jefferson,  John  Hancock 
(in  the  Senate  Chamber),  Thomas  Benton,  and  others.  About  1856 
he  made  his  first  visit  to  Italy,  remaining  several  years. 

"  Dr.  Stone  was  very  enthusiastic  in  his  nature,  and  had  he  given  his  attention  earlier 
to  the  study  of  art,  under  a  competent  master,  he  might  have  achieved  lasting  fame."  — 
Art  Journal.  November,  1875. 

Stone,  William  Oliver,  N.  A.  (Am.)  Born  at  Derby,  Ct. 
(1830-1875).  Studied  art  in  New  Haven,  and  painted  portraits 
there,  as  a  young  man,  with  considerable  success.    He  settled  in  New 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  275 


York  about  1858,  and  was  made  a  member  of  the  Academy  of  Design 
in  1859,  exhibiting  annually  until  the  year  of  his  death.  As  a  por- 
trait-painter he  was  very  popular,  and  among  his  sitters  have  been 
Howell  L.  Williams  (in  the  Union  Club,  New  York),  Daniel  Le  Roy, 
Mrs.  Hoey,  James  Gordon  Bennett,  and  others. 

"  Mr.  Stone  was  an  admirable  painter  of  women  and  children,  and  some  of  his  pictures 
of  this  class  have  never  been  equaled  in  America  In  his  handling  of  these  sub- 
jects he  threw  around  them  an  expression  of  ideality  which  was  artistic  in  the  highest 
degree,  and  raised  his  art  far  above  the  level  usually  attained  in  portrait  pictures.  He 
was  a  prolific  painter,  and  one  year  sent  nine  pictures  to  the  Academy."  —  Art  Journal, 
November,  1875. 

Stone,  Marcus,  A.  R.  A.  (Brit.)  Son  of  Frank  Stone,  A.  R.  A., 
an  artist  of  much  repute.  Marcus  Stone  was  born  in  London  in 
1840.  He  worked  in  his  father's  studio,  inheriting  some  of  his 
father's  genius,  but  receiving  little  instruction  in  art.  He  exhibited 
his  first  picture,  "Rest,"  at  the  Royal  Academy  in  1858.  In  1859  he 
sent  "  Silent  Pleadings  "  ;  in  1860,  "  The  Sword  of  the  Lord  and 
Gideon  "  ;  in  1861,  "  Claudio  accuses  Hero  "  ;  in  1862,  "  The  Painter's 
First  Work"  ;  in  1863,  "  On  the  Road  from  Waterloo  to  Paris  "  (a 
picture  containing  a  portrait  of  Bonaparte,  which  attracted  some  at- 
tention). In  1864  he  exhibited  "Working  and  Shirking"  ;  in  1865, 
"  Old  Letters  "  ;  in  1866,  "  Stealing  "  and  «  Nell  Gwynn"  ;  in  1868, 
"  The  Interrupted  Duel"  ;  in  1870,  "  Henry  VIII.  and  Anne  Boleyn 
observed  by  Queen  Katherine  "  ;  in  1871,  "  The  Royal  Nursery  in 
1838"  ;  in  1872,  "Edward  II.  and  Piers  Gaveston"  ;  in  1874,  "  My 
Lady  is  a  Widow  and  Childless  "  ;  in  1875,  "  Sain  et  Sauf "  ;  in  1876, 
"  Rejected "  ;  in  1877  (when  he  was  elected  an  Associate  of  the 
Royal  Academy),  "  The  Sacrifice  "  and  "  Waiting  at  the  Gate  "  ;  in 
1878,  "  The  Post-Boy  "  and  "  The  Time  of  Roses."  His  "  Childless 
Widow  "  was  at  Philadelphia  in  1876,  and  at  Paris  in  1878. 

"This  picture  [' Claudio  accuses  Hero,'  R.  A.,  1S61],  instead  of  looking  like  the  work 
of  a  very  young  man,  has  rather  the  appearance  of  being  painted  with  a  decision  and 
breadth  of  touch  bespeaking  one  who  has  painted  on  from  vigorous  style  into  facile 
manner.  The  ripe  facility  of  pencil  is  at  least  equaled  by  adroit  dexterity  of  grouping 
and  disposition  of  color,  so  that,  as  a  whole,  this  is  a  most  winning  and  attractive  pic- 
ture."— Art  Journal,  June,  1861. 

"  Marcus  Stone  stands  at  the  head  of  his  craft  as  a  skillful  designer  and  admirable 
painter  of  pieces  of  historic  genre." — Art  Journal,  April,  1877. 

Stone,  J.  M.  (Am.)  Born  in  Dana,  Mass.,  1841.  He  received 
his  art  education  in  Munich,  under  Professor  Seitz  and  Professor 
Lindenschmit.  He  has  spent  his  professional  life  in  Boston,  where 
he  is  an  instructor  in  the  School  of  the  Museum  of  Fine  Arts.  He 
was  elected  a  member  of  the  Boston  Art  Club  in  1876,  exhibiting 
there  his  "  Tuning  of  the  Violin,"  the  same  year,  considered  his  most 
important  work.  Among  his  portraits  are  those  of  Frank  Dengler 
the  sculptor,  belonging  to  F.  X.  Dengler,  Covington,  Ky.,  and  of  F. 
W.  Tilton  of  Newport,  painted  for  Phillips  Academy  at  Andover. 


276     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  The  portrait  of  Mr.  Tilton  is  not  only  an  admirable  likeness,  but  the  best  portrait 
Mr.  Stone  has  yet  done,  and  ought  to  rank  him  among  the  first  portrait-painters  of 
Boston.  The  artist's  thorough  knowledge  of  drawing  is  shown  in  the  certainty  of  the 
lines  and  the  firm,  vigorous  modeling.  The  execution  manifests  both  strength  and  nice 
perception  ;  not  a  feature  is  neglected  or  slurred  over,  and,  at  the  same  time,  there  is 
no  suggestion  of  higgling.  ....  The  expression  and  pose  are  finely  conceived,  having 
that  quality  which  in  portraiture  is  most  difficult  to  catch,  —  action.  This  is  partic- 
ularly evident  in  the  rendering  of  the  eyes,  which  are  not  set  or  fixed  in  gaze,  which 
have  a  peculiarly  animated  and,  at  the  same  time,  contemplative  glance,  — a  striking 
something  which  may  be  expressed  in  the  word  '  intelligence. '"  —  Boston  Advertiser, 
June,  1878. 

Storelli,  Felix-Marie-Ferdinand.  (Ital.)  Born  at  Turin  (1778  - 
1854).  Medal  at  Paris.  This  landscape-painter  exhibited  works  at 
Paris  many  times.  Some  of  them  were  at  the  palace  of  Saint-Cloud  ; 
others  are  at  the  Trianon  ;  and  his  portrait  of  Marshal  Schomberg  is  at 
Versailles. 

Storey,  George  Adolphus,  A.  E.  A.  (Brit.)  Born  in  London, 
1834.  Displayed  a  love  of  art  as  a  child,  and  won  a  prize  at  school 
for  painting  in  oil  when  not  more  than  twelve  years  of  age.  Between 
1848  and  '50  he  studied  mathematics  in  Paris,  painting  in  the  Louvre 
in  his  leisure  moments.  Later,  he  studied  art  in  London,  entering  the 
Eoyal  Academy  in  1854.  In  1852,  however,  he  had  sent  to  the  Koyal 
Academy  his  first  picture,  "  A  Family  Portrait "  ;  in  1853,  "  Madonna 
and  Child  "  ;  in  1854,  "  Holy  Family,"  which  attracted  considerable 
attention.  He  visited  Spain  for  the  purpose  of  painting  and  study  in 
1863.  Among  his  earlier  works  are,  "  Sacred  Music,"  "  The  Widowed 
Bride  "  (1858),  "  The  Bride's  Burial,"  and  "  The  Annunciation."  His 
"  Meeting  of  William  Seymour  and  Lady  Arabella  Stuart  in  1609  " 
(which  first  brought  him  prominently  into  public  notice)  was  exhib- 
ited in  1864.  In  1865  he  sent  "The  Royal  Challenge";  in  1867, 
"  After  You  ! ";  in  1868,  "  The  Shy  Pupil  "  and  "  Saying  Grace  ";  in 
1869,  "  Going  to  School  "  and  "  The  Old  Soldier  "  ;  in  1870,  "  The 
Duet "  and  "  Only  a  Rabbit " ;  in  1871,  "  Rosy  Cheeks  "  and  "  Lessons  "; 
in  1872,  "  Little  Buttercups  "  and  "  The  Course  of  True  Love  "  ;  in 
1873,  "  Love  in  a  Maze  "  and  "  Mistress  Dorothy  "  ;  in  1874,  "  Grand- 
ma's Christmas  Visitors  "  ;  in  1875,  "  Caught  "  and  "  The  Whip- 
hand  "  ;  in  1876  (when  he  was  elected  Associate  of  the  Academy), 
"A  Dancing-Lesson"  and  "My  Lady  Belle";  in  1877,  "The  Old 
Pump-Room  at  Bath,"  "  The  Judgment  of  Paris,"  and  "  Christmas 
Eve  "  ;  in  1878,  "  Sweet  Margery."  He  sent  to  the  Paris  Exposition 
of  1878,  "  Scandal  "  and  "  The  Old  Soldier." 

"George  A.  Storey  has  still  to  acquire  more  finish,  delicacy,  and  completeness  of  exe- 
cution to  fit  his  pleasant  class  of  subjects  ;  and  he  will  then  fill  a  place  of  his  own  in 

which  he  will  not  find  many  competitors  Mr.  Storey,  too,  may  for  the  moment 

almost  claim  a  monopoly  of  pretty,  playful  vaudeville.  His  portraits  of  children  and 
girls  are  particularly  pleasing  and  happy  in  arrangement. "  —  Tom  Taylor,  in  English 
Artists  of  the  Present  Day. 

"  Among  the  younger  men  of  our  living  school  of  painters  we  cannot  point  to  a  more 
conscientious  worker  than  Mr.  Storey.   His  principal  characters  are,  as  they  should  be, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  277 


his  chief  study,  but  the  accessories  are  not  neglected  His  canvases  are  never 

overloaded,  and  on  the  other  hand  they  are  never  wanting  in  subject-matter  of  more  or 
less  interest.  The  domestic  life  of  a  past  generation  affords  him  an  ample  field  for  the 
display  of  many  of  the  best  qualities  one  desires  to  see  in  a  picture."—  Art  Journal, 
June,  1875. 

Story,  William  W.  (Am.)  Born  at  Salem,  Mass.,  1819.  Grad- 
uated at  Harvard  College,  1844.  Studied  law,  and  published  several 
law  treatises  considered  valuable  in  that  profession.  He  published 
a  volume  of  Poems  in  1847,  a  Life  of  his  father,  Judge  Story,  in 
1851,  and  a  second  volume  of  Poems  in  1856.  Adopting  sculpture  as 
a  profession,  he  went  to  Home,  one  of  his  earliest  works  being  a  statue 
of  his  father,  now  at  Mount  Auburn  Cemetery,  in  Cambridge,  Mass. 
His  "  Cleopatra  "  (bought  by  John  T.  Johnston),  and  his  "  Sibyl,"  ex- 
hibited at  the  London  International  Exhibition  of  1862,  were  highly 
praised  by  critics  and  connoisseurs.  Among  his  works  are,  "  Saul," 
"  Sappho,"  "  Delilah,"  "  Moses,"  "Judith,"  "  Infant  Bacchus,"  "  Little 
Ked  Riding-Hood,"  and  "  Jerusalem  in  her  Desolation "  (presented 
by  the  purchasers  of  it  to  the  Academy  of  Arts  in  Philadelphia).  His 
"  Medea "  was  at  the  Philadelphia  Centennial  Exhibition  in  1876. 
He  is  the  author  of  the  statues  of  George  Peabody,  in  London,  and  of 
Edward  Everett,  in  the  Public  Garden  at  Boston,  both  in  bronze.  At 
present  (1878)  he  is  engaged  on  a  National  Monument  to  be  placed 
in  Independence  Square,  Philadelphia. 

"  'Jerusalem  in  her  Desolation  '  is  the  title  given  by  W.  W.  Story  to  a  colossal  statue 
[exhibited  in  London  in  1873].  It  is  a  noble  female  figure  clad  in  flowing  drapery ;  the 
head,  crowned  with  a  kind  of  phylactery,  is  finely  modeled,  the  Hebrew  face  having  an 

expression  of  mingled  distress  and  contempt  The  general  impression  of  the 

design  is  that  of  majestic  sorrow,  and  the  execution  of  the  work  throughout  is  most  care- 
ful."— Art  Journal,  August,  1873. 

"  The  two  conceptions,  '  Cleopatra  '  and  the  '  Libyan  Sibyl,'  have  placed  Mr.  Story  in 
European  estimation  at  the  head  of  American  sculptors  Profiting  by  the  knowl- 
edge of  the  old  masters,  and  forming  his  tastes  upon  the  best  styles,  Story  has  had  the 
independence  to  seek  out  an  unused  field.  In  this  he  confers  honor  on  our  school,  and 
gives  it  an  impetus  as  new  as  it  is  refreshing."  — Jarves,  Art  Idea. 

"  In  a  word,  all  Cleopatra  —  fierce,  voluptuous,  passionate,  tender,  wicked,  terrible,  and 
full  of  poisonous  and  rapturous  enchantment  —  was  kneaded  into  what,  only  a  week  or 
two  before,  had  been  a  lump  of  wet  clay  from  the  Tiber.  Soon  apotheosized  in  an  inde- 
structible materia],  she  would  be  one  of  the  images  that  men  keep  forever,  finding  a  heat 
in  them  that  does  not  cool  down  through  the  centuries."  —  Hawthorne,  in  The  Marble 
Faun. 

Story,  George  H.,  A.  N.  A.  (Am.)  Born  in  New  Haven,  Ct., 
1835.  He  began  his  art  studies,  at  the  age  of  fifteen,  under  Professor 
Bail  of  New  Haven  ;  later,  spending  two  years  in  the  studio  of  Charles 
Hine,  a  portrait-painter,  in  that  city.  Going  to  the  Continent  of 
Europe,  he  passed  a  year  in  general  observation  and  study.  He  then 
resided  two  years  in  Portland,  Me.,  gaining,  in  1858,  the  State  Medal 
of  Maine  for  the  best  oil-painting.  He  painted  for  two  years  in 
Washington,  D.  C,  passed  a  year  in  Cuba,  and  for  some  time  has 
been  a  resident  of  New  York.    In  1875  he  was  elected  an  Associate 


278     ARTISTS  OF  THE  NINETEENTH  CENTURl. 


of  the  National  Academy,  and  is  a  member  of  the  Artists'  Fund  So- 
ciety. His  pictures  are  exhibited  frequently  in  New  York  and  else- 
where. Among  the  better  known  of  them  are,  "The  Testy  Old 
Squire's  Complaint "  (the  property  of  Charles  Eogers),  "  The  Young 
Mother  "  (owned  by  J.  F.  Nash,  Yonkers),  "  The  Student  of  Nature  " 
(owned  by  E.  B.  Warren,  Philadelphia),  "The  Young  Student" 
(owned  by  David  Grosbeck,  Suffern,  N.  Y.),  a  full-length  life-sized 
portrait  of  H.  J.  Kimball,  a  portrait  of  Whitelaw  Reid  (belonging  to  the 
Lotus  Club),  "The  Winter  School,"  "  Uncle  Peter  in  his  Castle," 
"  The  Return  of  the  Forager,"  "  Freeing  the  Butterfly,"  "  Prayer," 
"  A  New  England  Professor  of  Psalmody,"  "  Making'  his  Mark," 
"  The  Clock-Tinkers,"  a  large  portrait  group  of  the  Governor  of  Villa- 
Clara,  in  his  gallery  at  Madrid,  Spain,  and  others.  His  "Young 
Mother,"  "Echoes  of  the  Sea,"  and  "The  Young  Student"  were  at 
the  Centennial  Exhibition  of  Philadelphia  in  1876. 

"  No  artist  in  this  country  has  made  such  a  decided  advance  in  his  profession  during 
the  last  five  years  as  George  H.  Story  ;  and  he  invests  his  works  with  so  much  refine- 
ment of  feeling  that  they  at  once  arrest  attention  in  whatever  position  they  may  be 
placed."  —  Art  Journal,  May,  1875. 

Strazza,  Giovanni.  (Ital.)  Born  at  Milan  (1818  -  1875).  Pro- 
fessor in  the  Academy  of  the  Brera.  He  received  many  medals.  When 
but  twenty  years  old  he  had  modeled,  in  Rome,  his  statue  of  "  Ish- 
mael,"  which  won  him  much  fame.  His  works  are  seen  in  many 
cities.  His  bust  of  Manzoni  was  greatly  admired  at  Vienna  in  1873. 
One  of  his  last  works  was  the  statue  of  Donizetti  placed  in  the  atrium 
of  the  Theater  of  the  Scala  at  Milan  in  1874. 

Street,  George  Edmund,  R.  A.  (Brit.)  Born  in  Essex,  1824. 
He  studied  architecture  for  some  years  under  Sir  George  G.  Scott. 
In  1866  he  was  elected  an  Associate  of  the  Royal  Academy,  Academi- 
cian in  1871,  and  Auditor  in  1873.  He  has  designed  many  important 
buildings  throughout  Great  Britain,  particularly  turning  his  attention 
to  country-houses  and  church  edifices.  He  was  instrumental  in  the 
restoration  of  Bristol  Cathedral  and  Christ  Church  Cathedral,  Dublin, 
among  others,  and  was  appointed  Architect  to  the  new  Courts  of  Jus- 
tice, London.    [Died,  1881.] 

Stroebel,  J.  A.  B.  (Dutch.)  Of  The  Hague.  Medal  at  Philadel- 
phia, where  he  exhibited  "  The  Deacons  of  the  Silversmiths'  Guild 
conferring  a  Certificate,"  of  which  John  F.  Weir  says,  "  while  tending 
towards  the  conventional  it  is  nevertheless  admirable  in  many  estima- 
ble qualities,  broad  and  simple  in  treatment,  and  pure  in  tone." 

Stroobant,  Francois.  (Belgian.)  Born  at  Brussels,  1819.  Chev- 
alier of  the  Order  of  Leopold.  Medal  at  Paris,  1855.  Pupil  of  Lau- 
ters.  An  artist  of  good  reputation  as  a  landscape-painter.  He  used 
water-colors  and  pastels,  and  made  numerous  lithographs. 

Sturm,  Friedrich  Ludwig  Christian.  (Ger.)  Born  at  Rostock, 
1834.  Medal  at  London.  Pupil  of  Berlin  Academy  under  Eschky ;  later, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  279 


under  Professor  Gude,  at  Carlsruhe,  he  finished  his  studies.  Traveled 
in  the  North  of  Europe  and  Italy.  At  the  National  Gallery,  Berlin, 
are  his  pictures  of  the  "  Baltic  Sea  "  and  the  "  Mediterranean  Sea." 

Sully,  Thomas.  {Am.)  Born  in  England  (1783  -  1872).  Taken 
to  America  at  the  age  of  nine  years,  he  studied  art  in  Charleston, 
S.  C.,  where  he  began  the  practice  of  his  profession  as  a  portrait- 
painter.  He  lived  for  some  time  in  Richmond,  Va.,  and  in  New  York, 
settling  finally  in  Philadelphia.  He  made  several  visits  to  Europe  ; 
in  1838  painting  from  life  a  portrait  of  Queen  Victoria,  now  in  the  pos- 
session of  the  St.  George's  Society  of  Philadelphia.  Among  his  por- 
traits are  those  of  Lafayette,  in  Independence  Hall ;  Fanny  Kemble ; 
Charles  Kemble  ;  George  Frederick  Cooke,  and  others,  in  the  Acad- 
emy of  Fine  Arts,  Philadelphia.  His  portrait  of  Jefferson  belongs  to 
the  Military  Academy  at  West  Point ;  that  of  Commodore  Decatur 
(at  Philadelphia  Exhibition  in  1876)  is  in  the  City  Hall,  New  York  ; 
those  of  Reverdy  Johnson  and  Charles  Carroll  are  in  Baltimore.  His 
"  Washington  crossing  the  Delaware  "  (so  familiar  in  America  by  the 
engraving)  is  in  the  Boston  Museum.  In  the  gallery  of  M.  O.  Rob- 
erts are  his  "  Woman  at  the  Well  "  and  "  A  Girl  offering  Flowers  at  a 
Shrine." 

"Sully's  organization  fits  him  to  sympathize  with  the  fair  and  lovely  rather  than  the 
grand  or  comic.  He  is  keenly  alive  to  the  more  refined  phases  of  life  and  nature.  His 
pencil  follows  with  instinctive  truth  the  principles  of  genuine  taste.  His  forte  is  the 
graceful.  Whatever  faults  the  critics  may  detect  in  his  works  they  are  never  those  of 
awkwardness  or  constraint.  He  exhibits  the  freedom  of  touch  and  the  airiness  of  out- 
line which  belong  to  spontaneous  emanations  The  series  of  illustrations  that 

Sully  commenced  are  happily,  but  not  forcibly  conceived.  Portia  is  fair  and  dignified, 
but  not  sufficiently  vigorous.  Isabella  is  as  chaste  and  nun-like  as  Shakspere  made  her, 
but  her  dormant  and  high  enthusiasm  does  not  enough  appear ;  Miranda,  a  character 
better  adapted  than  either  to  Sully's  pencil,  has  an  arch  simplicity  caught  from  Nature 
herself."  —  Tuckerman's  Book  of  the  Artists. 

Sunol,  Geronimo.  (Span.)  Medal  at  Paris  in  1867.  At  Phila- 
delphia he  exhibited  "  Dante,"  in  bronze,  and  received  a  medal.  [No 
further  authoritative  information  could  be  obtained.] 

Sussmann,  Hellborn  Louis.  (Ger.)  Born  at  Berlin,  1828.  Mem- 
ber of  the  Academy  of  Rotterdam.  Medals  at  Berlin,  Brussels, 
Munich,  Paris,  and  the  Bavarian  medal  of  Louis.  Pupil  of  Berlin 
Academy  and  of  Professor  Wredow.  He  has  spent  much  time  in 
Italy,  and  has  traveled  considerably  in  Europe.  Among  his  impor- 
tant works  are  the  statues  of  "  Frederick  the  Great  "  and  "  Frederick 
William  III.,"  for  the  grand  salon  of  the  Berlin  Rathhaus  ;  a  statue  of 
"  Frederick  the  Great  in  Youth,"  and  a  copy  of  "  Frederick  William 
III.,"  for  the  city  of  Breslau ;  and  a  statue  of  "  Frederick  the  Great  as 
a  Warrior,"  in  bronze,  for  Brieg  (erected  in  1878).  His  "  Drunken 
Faun  "  is  at  the  National  Gallery,  Berlin.  To  the  Paris  Exposition, 
1878,  he  contributed  a  group,  in  marble,  called  "  Lyric  Poetry  and 
Popular  Song." 

Suydam,  James  A.,  N.  A.    (Am.)    Born  in  New  York  (1817- 


280     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1865).  He  traveled  through  Greece,  Turkey,  and  other  parts  of  the 
East  with  Minor  C.  Kellogg,  and  from  him  received  the  first  rudi- 
ments of  art.  On  his  return  to  America  he  painted  for  some  time 
with  Kellogg,  and  later  with  Durand  and  Kensett,  executing  in  the 
studio  of  the  last  named  some  of  his  best  pictures.  The  most  satis- 
factory of  his  works  were  coast  views,  although  at  times  he  was  very 
happy  in  his  views  of  the  White  Mountains,  etc.  He  was  a  full  mem- 
ber of  the  Academy  of  Design,  elected  about  1856.  When  the  build- 
ing of  the  present  Academy  in  New  York  was  projected  Mr.  Suydam 
was  instrumental  in  procuring  large  subscriptions  towards  that  object, 
and  took  a  very  prominent  part  in  its  construction.  He  was  made 
Treasurer  of  the  Academy,  a  position  he  held  until  his  death.  He 
bequeathed  to  it  the  pictures  now  in  its  possession,  known  as  the 
"  Suydam  Collection,"  as  well  as  a  large  sum  of  money.  He  was  de- 
voted to  his  art.  One  of  his  most  agreeable  pictures  was  a  twilight 
with  the  New  London  lighthouse  in  the  distance  (in  the  Olyphant 
Collection).  A  "  View  on  Long  Island,"  with  harvesting  of  salt  hay, 
(one  of  his  most  important  works),  is  now  in  the  possession  of  his 
nephew,  William  A.  Reese.  His  "  Hook  Mountain  on  the  Hudson  " 
belongs  to  S.  Clift. 

Swertchkow,  Nicolas.  (Russian.)  Born  at  St.  Petersburg. 
Chevalier  of  the  Legion  of  Honor.  Professor  at  the  Academy  of  St. 
Petersburg.  Studied  in  his  native  city,  and  paints  genre  subjects  and 
animals,  such  as  "  The  Kabitka  in  the  Snow,"  "  The  Village  Wed- 
ding," "  Travelers  Astray,"  "  Landscape  in  Winter,"  etc.  This  artist 
has  exhibited  his  works  in  Paris,  London,  and  Brussels.  In  1863,  the 
year  of  his  decoration,  he  sent  to  Paris,  "  A  Horse  Fair  in  the  Interior 
of  Russia,"  "  Station  for  Post-Horses,"  and  "  The  Return  from  the 
Bear-Hunt";  in  1864,  "A  Child  fallen  from  a  Sleigh  during  the 
Night,  found  in  the  Morning  safe  and  well,  in  the  midst  of  Wolves  " 
and  "  Russian  Travelers  in  Sleighs  meeting  in  the  midst  of  the  Woods." 

Sylvestre,  Joseph-Noel.  (Fr.)  Born  at  Beziers,  1847.  Medals, 
1875  and  '76.  Prix  du  Salon,  1876.  Pupil  of  Cabanel.  In  1876  he 
exhibited  a  very  remarkable  picture  of  "  Locuste  testing,  in  the  Pres- 
ence of  Nero,  the  Poison  prepared  for  Britannicus."  Much  has  been 
written  and  said  of  this  picture.  It  is  called  "  horrible,"  "  wonderful," 
"  magnificent,"  and  "  detestable,"  and  all  these  epithets  may  be  legiti- 
mately used.  It  is,  in  a  word,  a  powerful,  realistic  representation  of 
a  scene  without  a  trace  of  anything  good  or  pleasing,  but  a  scene 
which  gives  an  opportunity  for  the  display  of  artistic  skill  and  knowl- 
edge. It  is  in  the  Luxembourg.  In  1875  Sylvester  exhibited  "  The 
Death  of  Seneca"  ;  in  1873,  "  Jeu  de  Bergers"  ;  in  1878,  "  The  Last 
Moments  of  Vitellius  Caesar." 

Tadolini,  Adam  Scipione.  (Ital)  Born  at  Bologna  (1789- 
1870).  Professor  of  the  Academy  of  Bologna.  Pupil  of  Canova. 
Among  the  works  of  this  celebrated  sculptor  are,  "  Venus  and  Love," 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  281 


for  Prince  Hercolani ;  "  The  Rape  of  Ganymede,"  for  Prince  Ester- 
hazy  ;  the  Tomb  of  Cardinal  Laute,  for  the  city  of  Bologna  ;  statue 
of  "  St.  Francis  de  Sales,"  for  St.  Peter's  at  Rome  ;  a  colossal  "  St. 
Michael,"  for  the  late  Mr.  Gardner  Brewer  of  Boston  (for  which  Va- 
pereau  says  the  artist  received  200,000  francs). 

Signora  Tadolini,  wife  of  this  artist,  made  a  reputation  as  an  en- 
graver of  cameos. 

Tait,  Arthur  F.,  N.  A.  (Brit-Am.)  Born  in  Liverpool,  1819.  In  1850 
he  removed  to  America,  settling  in  New  York,  where  his  professional  life 
has  been  spent.  He  has  studied  from  nature  in  the  Adirondack  regions 
and  elsewhere  during  the  summer  months,  but  has  had  no  regular  in- 
struction in  art  from  any  teacher,  and  belongs  to  no  school  of  painting. 
He  is  a  member  of  the  Artists'  Fund  Society,  and  was  elected  mem- 
ber of  the  National  Academy  in  1858.  He  spent  four  months  in  Eu- 
rope in  1874,  never  painting  professionally  out  of  America.  To  the 
National  Academy,  in  1868,  he  contributed  "  A  Duck  and  her  Young  "  ; 
in  1869,  "Ruffled  Grouse";  in  1870,  "Our  Pets"  (painted  in  part 
by  James  M.  Hart) ;  in  1871,  "Woodcock  Shooting"  (belonging  to 
John  C.  Force)  and  "  The  Halt  on  the  Carry "  (belonging  to  Henry 
D.  Polhemus)  ;  in  1873,  "  Racquette  Lake"  ;  in  1874,  "The  Bogert 
Homestead,  Eagleswood,  N.  J."  ;  in  1876,  "  There 's  a  Good  Time 
coming"  ;  in  1878,  "  A  Good  Point  "  and  "  Lake  Trout"  (belonging 
to  John  E.  Sidman).  To  the  Centennial  at  Philadelphia,  in  1876,  he 
sent  "  The  Portage,  —  Waiting  for  the  Boats,"  also  painted  in  conjunc- 
tion with  James  M.  Hart.  His  "Snowed  In"  is  owned  by  Judge 
Hilton  of  New  York,  and  other  works  are  in  the  possession  of  J ohn 
Osborn,  James  B.  Blossom,  Charles  Blossom  of  Brooklyn,  and  others. 

Tait,  John  R.  (Am.)  Born  in  Cincinnati,  1834.  He  displayed 
artistic  talents  as  a  child,  but  did  not  follow  painting  as  a  profession 
until  somewhat  advanced  in  manhood.  He  went  abroad  in  1852, 
painting  as  an  amateur  in  Florence  and  Rome  for  a  few  years,  but 
devoting  himself  chiefly  to  literature,  publishing  a  book  of  travels, 
and  later,  in  1859,  a  volume  of  poems  entitled  "  Dolce  Far  Niente," 
both  of  which  were  very  favorably  received.  He  went  again  to  Eu- 
rope in  1859,  and  spent  some  twelve  years  in  Diisseldorf,  broken  by 
occasional  visits  to  America,  and  by  sketching-tours  in  nearly  every 
country  of  Europe.  In  Diisseldorf  and  Munich  his  teachers  were 
Professors  A.  Weber  and  Andreas  Achenbach,  but  since  1870  he  has 
pursued  his  studies  independently  in  a  direction  diverging  from  the 
Diisseldorf  school.  In  1871  and  '72  he  received  the  first-class  medals 
of  the  Art  Department  of  the  Cincinnati  Industrial  Exhibition.  Com- 
paratively few  of  Mr.  Tait's  pictures  have  found  their  way  to  America. 
They  have  been  exhibited  in  the  Salons  of  Paris,  in  London,  Vienna, 
Berlin,  etc.,  and  have  been  sold  in  those  cities.  His  first  picture  was 
bought  by  Major,  afterwards  General,  Philip  Kearney,  U.  S.  A.  His 
"  Waterfall,  Pyrenees  "  is  in  the  collection  of  James  Caird,  Gourock 


282     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


House,  near  Greenock  on  the  Clyde  ;  his  "  Meyringen "  belongs  to 
James  Staats  Forbes,  Wickenham  Hall,  Kent ;  Prince  Heinrich  XVIII. 
of  Reuss  owns  his  "  Waterfall "  ;  Hon.  William  S.  Groesbeck  of  Cin- 
cinnati, his  "  Lake  of  Wallenstadt "  ;  Hon.  George  Vickers  of  Balti- 
more, his  "  Solitude."  His  "  Evening  on  the  Lake  "  and  "  Tyrolese 
Idyl "  were  at  the  Paris  Salon  of  1876  ;  to  the  Centennial  Exhibition, 
Philadelphia,  1876,  he  sent  "  Summer."  Recently  he  has  been  a  resi- 
dent of  Baltimore,  Md. 

"John  R.  Tait  exhibits  a  large  landscape  with  cattle  which  reminds  one  of  the  best 
examples  of  the  old  Dutch  painters,  without  any  sacrifice,  however,  of  the  artist's  indi- 
viduality. Foliage,  water,  air,  and  the  figures  are  treated  with  equal  success,  and  a 
breath  of  the  most  charming  lyric  poetry  pervades  the  whole,  so  that  the  picture  belongs 
among  the  best  of  the  present  Exhibition. "  —  Munich  News  (Bavaria),  April,  1873. 

"  Mr.  Tait  exhibited  here,  several  years  ago,  a  few  pictures  which  showed  a  decided 
force  and  originality  ;  but  they  were  touched  with  a  savage  gloom  which  rendered  them 
not  altogether  pleasing.  In  his  more  recent  style  he  has  chosen  the  sweeter  and  gentler 
moods  of  nature.  ....  The  landscapes  are  in  the  main  well  drawn.  In  color  they  are  not 
brilliant  ;  we  should  say  that  the  aim  of  Mr.  Tait  is  chiaroscuro  rather  than  color.  His 
skies  are  nearly  always  luminous,  full  of  space  and  air ;  he  sets  a  tree  against  the  sky 
with  a  very  felicitous  relief."  —  Baltimore  Gazette,  July,  1876. 

Tantardini,  Antonio,  Commander.  (Ital)  Medals  at  London, 
Berlin,  Oporto,  and  Vienna.  He  resides  at  Milan,  and  is  one  of  the 
first  sculptors  of  the  Lombard  school,  and  shows  by  his  work  a  careful 
study  of  Greek  masters  and  of  the  best  examples  of  the  cinque-cento. 
His  statues  of  the  "  Bagnante  "  and  the  "  Pompeiana  "  were  exhibited 
at  Philadelphia,  where  he  was  one  of  the  art  judges.  His  statues,  "  II 
primo  dolore,"  "  La  Schiava,"  "  La  Leggitrice,"  and  "  La  Vanita,"  are 
among  his  best.  His  statue  of  Arnoldo  da  Brescia  was  put  in  marble 
for  Antonio  Traversi,  and  was  erected  in  Desio  near  Milan.  To  the 
Paris  Exposition,  1878,  he  sent  "The  Kiss"  (a  group  with  a  pedestal 
in  marble).  His  "Leggitrice"  (Reading  Girl)  is  now  in  the  collec- 
tion of  Mr.  Probasco  of  Cincinnati.    [Died,  1879.] 

Tardieu,  Pierre- Alexandre.  (Fr.)  Born  at  Paris  (1756  -  1844). 
Member  of  the  Institute,  and  Chevalier  of  the  Legion  of  Honor.  This 
celebrated  engraver  was  descended  from  a  family  in  which  there  had 
been  several  artists.  His  works  were  excellent  from  his  early  years, 
and  some  of  them  are  now  valuable.  He  was  skilled  in  the  processes 
of  Audran,  Edelinck,  and  Nanteuil,  and,  having  the  gift  of  imparting 
knowledge,  was  a  successful  instructor.  Among  his  pupils  were 
Desnoyers,  Bertonnier,  and  Aubert.  Among  his  plates  are,  "  St.  Mi- 
chael," after  Raphael ;  "  The  Communion  of  St.  Jerome,"  after  Do- 
menichino  ;  "  Judith  and  Holofernes,"  after  Allori ;  the  portraits  of 
Henry  IV.  of  France,  after  Janet  and  Pourbus  ;  two  of  Voltaire,  after 
Largilliere  and  Houdon  ;  Marie  Antoinette,  after  Dumont ;  the  Earl 
of  Arundel,  after  Vandyck  ;  etc.  His  plates  number  ninety.  After 
his  death  Mine.  Tardieu  refused  large  offers  from  merchants  for  the 
plates  of  her  husband,  and  in  order  to  preserve  them  intact,  she  gave 
to  the  Calcographie  of  the  Louvre  all  those  which  she  possessed. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  283 


Tatkeleff,  Vogisny.  (Russian.)  Born  about  1813.  The  father  of 
this  painter  was  the  serf  of  a  nobleman  in  the  Borissov  Government, 
who,  seeing  the  rude  charcoal  sketches  made  by  Vogisny  when  a 
child,  determined  to  educate  him.  When  fourteen  years  old  he 
painted  a  good  portrait  of  his  benefactor,  who  unfortunately  lost  his 
fortune  when  the  artist  was  but  nineteen.  The  new  owner  of  the 
estate  forced  him  into  the  army,  where  he  was  obliged  to  serve  fifteen 
weary  years.  In  all  this  time  he  had  no  opportunity  to  display  his 
talent  until,  during  the  last  two  years,  being  stationed  at  Tiflis,  he  was 
allowed  to  fresco  the  walls  of  the  dining-room  of  the  house  of  a  rela- 
tive of  his  colonel.  He  was  too  poor  to  dream  of  buying  materials 
for  his  work.  In  1849  he  was  discharged,  and  went  home  to  find  his 
parents  dead.  His  master  was  also  dead,  and  in  his  widow  he  found 
a  cultivated  and  liberal  woman.  Tatkeleff  asked  of  her  the  position  of 
teacher  in  the  village  school.  When  she  discovered  his  talent  she  fur- 
nished him  with  means  to  complete  his  studies,  but  stipulated  that  he 
should  not  leave  Russia,  and  that  she  should  have  her  choice  of  his 
works.  The  artist  was  now  happy,  and  made  many  pictures  which 
were  hung  on  the  walls  of  the  chateau  of  his  mistress.  In  1854  he 
went  with  her  son  to  the  Crimean  war,  and  there  partially  lost  his 
eyesight.  His  benefactress  died  ;  the  son  would  do  nothing  for  the 
painter,  who,  by  making  designs  for  a  publishing-house  at  Kiev,  man- 
aged to  exist.  About  1870  a  tourist,  who  saw  the  sketch-book  of 
Tatkeleff,  exacted  a  promise  from  him  to  send  some  works  to  Moscow 
for  exhibition.  For  months  he  could  not  buy  the  paints  and  canvas 
necessary,  but  at  last  two  pictures  were  finished,  and  sent  to  the  Art 
Exposition  in  Moscow  of  1873.  They  represented  scenes  in  the  Cri- 
mean war,  and  made  the  artist  famous  in  a  day.  They  were  pur- 
chased for  the  gallery  of  the  Winter  Palace  of  St.  Petersburg  for 
60,000  roubles.    The  Moscow  Gazette  said  of  them  :  — 

"  The  impression  which  they  produce  upon  the  beholder  is  almost  overwhelming,  — 
such  terrible  reality,  such  wonderful  grouping,  such  superb  coloring,  truly  Horace  Vernet 
never  painted  anything  better  in  his  palmiest  days,  if  his  productions  are  at  all  worthy 
to  be  mentioned  side  by  side  with  those  of  the  Russian,  whose  two  paintings  have  sud- 
denly made  him  famous  and  raised  him  from  poverty  and  obscurity  to  wealth." 

As  no  one  had  ever  heard  of  this  artist,  the  editor  of  the  Gazette 
sent  some  one  to  Borissov  for  information  about  him,  and  Tatkeleff 
himself  went  to  Moscow,  where,  on  March  6,  1873,  Count  Baranowicz, 
the  president  of  the  Art  Exhibition,  presented  him  to  an  assembly 
attended  by  many  of- the  elite  of  Russian  society.  He  is  described  as 
follows,  in  the  Baltic  Gazette  of  that  time  :  — 

"  Imagine  a  little  slender  man  of  sixty,  with  the  head  of  a  child,  almost  beardless, 
only  a  few  tufts  of  silver-gray  hair  on  his  scalp,  with  small,  elegant  hands  and  feet, 
plainly  clad  in  the  national  costume  of  the  middle  classes,  with  the  timid  manners  of  a 
little  girl,  and  you  have  before  your  eyes  the  man  who  henceforth  will  number  with  the 
great  painters  of  modern  times." 


284     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


Tayler,  Frederick.  {Brit)  Born  in  1804.  Was  a  pupil  of  the 
Royal  Academy,  studying  also  in  Italy  and  Paris.  In  1828  or  '30  he 
was  made  Associate  of  the  Society  of  Painters  in  Water-Colors,  a  full 
Member  in  1835,  and  President  in  1857.  He  has  taken  an  active  part 
in  its  affairs,  and  contributed  regularly  to  its  exhibitions.  Among  his 
later  works  are,  "  Taking  in  the  Game,"  "  Otter-Hunting  in  the  High- 
lands," "  After  the  Battue,"  "  Waiting  for  the  Hounds,"  "  A  Hawking- 
Party,"  «  A  Meet  in  the  Forest,"  "  Business  and  Pleasure,"  "  Rustic 
Surgery,"  "A  Hunting  Morning,  —  Time,  George  II.,"  "Sherwood 
Forest,  —  Hounds  in  Full  Cry,"  etc.  His  "  Gamekeeper's  Daughter," 
"  Cattle  Ferry-Boat,"  and  "  Woodland-Hunting "  were  at  Paris  in 
1878. 

"  For  instance,  there  are  few  drawings  of  the  present  day  that  involve  greater  sensa- 
tions of  power  than  those  of  Frederick  Tayler.  Every  dash  tells,  and  the  quantity  of 
effect  obtained  is  enormous  in  proportion  to  the  apparent  means.  Brilliant,  beautiful, 
and  bright,  as  a  sketch,  the  work  is  still  far  from  perfection  as  a  drawing."  —  Ruskin's 

Modem  Painters. 

"  I  should  say,  judging  from  Mr.  Tayler's  skillful  and  rapid  manner  in  water-color 
sketching,  and  from  the  ability  displayed  in  the  few  etchings  of  his  that  have  been  pub- 
lished, that  lie  had  all  of  the  natural  gifts  of  a  first-rate  etcher,  and  nearly  all  the  knowl- 
edge ;  nothing  having  been  wanting  to  the  full  development  of  his  powers  in  that  direction, 
but  their  culture  on  a  larger  scale  in  works  issued  independently. "  —  Hamerton's  Etching 
and  Etchers. 

Tayler,  Norman.  {Brit.)  Son  of  Frederick  Tayler.  He  was 
elected  an  Associate  Member  of  the  Society  of  Painters  in  Water- 
Colors  in  1878,  when  he  exhibited  "  In  the  Valley  where  the  Daisies 
(&row ,"  "  Rainy  Weather,"  and  "  The  Nearest  Way  to  the  Farm." 

Tenerani,  Pietro.  {Ital.)  Born  at  Tarrano,  near  Carrara  (1798  - 
1870).  General  Director  of  the  Museums  and  Galleries  of  Rome. 
Member  of  many  Academies  and  Knight  of  several  Orders.  He  also 
received  honors  from  various  Royal  personages.  He  was  in  effect  a 
Roman.  He  was  an  indefatigable  worker,  often  passing  the  night 
with  chisel  in  hand.  His  art  was  his  life,  his  love,  his  religion,  and  it 
brought  him  riches  and  honors.  No  adequate  list  of  his  works  can 
be  given  here.  At  Rome,  in  the  Via  Nazionale,  in  1876,  a  museum 
was  opened  containing  more  than  four  hundred  and  fifty  works  and 
studies  of  Tenerani's.  His  "  Psyche  "  was  a  famous  work  ;  a  model 
of  it  is  in  the  Leipsic  Museum.  He  was  much  influenced  by  Thor- 
waldsen,  and  with  him  executed  the  monument  to  Eugene  Beauhar- 
nais,  erected  at  Munich. 

Ten  Kate,  Hermann  Frederic  Karl.  {Dutch.)  Born  at  The 
Hague,  1822.  Ten  Kate  was  a  Commissioner  of  the  Netherlands  to  the 
Exposition  of  1878.  Medals  at  The  Hague,  Philadelphia,  and  other 
places.  Pupil  of  Kruseman  at  Amsterdam.  He  spent  a  year  in  Paris. 
He  lives  at  The  Hague.  His  "  Fishers  of  Marken  "  (1857)  is  at  the 
Museum  of  Bordeaux.  Among  his  works  are,  "  The  Military  En- 
rollment," "  Une  fete  champetre,"  "Political  Discussions,"  "The  Pater- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  285 


nal  Benediction,"  and  "  Calvinist  Prisoners  under  Louis  XIV."  "  The 
Wood-Gatherers  "  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Bos- 
ton. To  Paris  in  1878  he  sent  three  pictures  in  oil  and  two  in  water- 
colors. 

Tennant,  John.  (Brit.)  (1796-1873.)  Originally  a  merchant's 
clerk,  his  decided  talent  for  art  was  made  so  manifest  that  he  entered 
the  studio  of  a  landscape-painter  when  still  a  young  man,  and  made 
for  himself  a  fair,  if  not  high,  reputation  in  the  profession.  He  was 
a  member  of  the  Society  of  British  Artists  for  many  years,  and  for  a 
long  time  its  Honorary  Secretary.  He  visited  and  painted  during  a 
large  portion  of  his  life  in  Wales  and  Devonshire,  many  of  his  works 
being  scenes  of  those  sections. 

"  Tennant's  landscapes  are  of  a  character  which  could  not  fail  to  invite  attention  for 
picturesqueness  and  appropriate  treatment,  if  not  for  higher  qualities  of  art."  —  Art 
Journal,  June,  1873. 

Tenniel,  John.  (Brit.)  Born  in  London,  1820.  He  displayed 
a  taste  for  art  at  an  early  age,  and  had  a  picture  on  exhibition  at  the 
Gallery  of  British  Artists  while  he  was  still  a  lad.  He  had  little  or 
no  instruction.  In  the  cartoon  competition  for  the  decoration  of 
Westminster  Hall,  in  1845,  he  won  a  prize,  and  executed  one  of  the 
frescos  in  the  Palace  of  Westminster.  His  most  successful  work  has 
been  done  in  black  and  white.  He  paints  only  occasionally,  and 
rarely  exhibits.  In  1851  he  joined  the  staff  of  Punch,  and  has  con- 
tributed many  illustrations  to  that  journal.  He  has  also  illustrated 
Once  a  Week,  "  The  Ingoldshy  Legends,"  "  Lalla  Bookh,"  and  other 
books  and  magazines. 

"  When  Mr.  Tenniel  first  associated  himself  with  Punch  it  was  thought  generally 
that  his  abilities  were  of  too  classic  an  order  for  the  duty  he  had  undertaken,  .... 
but  he  had  too  much  confidence  in  the  pictorial  strength  he  possessed  to  feel  that  he  need 
limit  himself  to  a  particular  sphere,  and  hence  he  persevered  with  his  pencil  until  in  time 
he  became  inoculated,  as  it  were,  with  a  sense  of  humor  which  has  not  been  subordinate 
to,  but  has  served  to  stimulate,  his  graphic  powers."  —  Hodder's  Memoir  of  my  Time. 

Terry,  Luther,  (Am.)  American  painter  resident  for  many  years 
in  Rome,  where  he  has  executed  historical,  portrait,  and  genre  com- 
positions, following  closely,  it  is  said,  the  manner  of  the  old  masters. 
He  visited  the  United  States  in  1874,  but  his  pictures  are  rarely  seen 
in  his  native  country. 

Teschendorff,  Emil.  (Ger.)  A  young  artist  of  Berlin,  where  his 
studio  now  is,  and  where  he  exhibited,  in  1877,  "  Troubled  Days  " 
and  "  A  Nymph  and  Satyr,"  besides  two  water-color  drawings  which 
attracted  much  attention.  His  works  are  as  yet  but  little  known 
out  of  his  native  country,  but  he  is  a  young  painter  of  promise. 

Thackeray,  William  M.  (Brit.)  Born  in  India  (1811 -1863). 
Was  educated  at  the  Charter-House  School  and  at  Cambridge  Uni- 
versity. Traveled  upon  the  Continent,  and  for  some  time  resided  in 
Paris,  studying  art,  and  copying  the  pictures  of  the  Louvre.  The 
practical  following  of  the  profession  he  abandoned  for  literature,  illus- 


286     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


trating,  however,  and  very  cleverly,  his  "  Comic  Tales  and  Sketches," 
"  Irish  Sketch- Book,"  "  Vanity  Fair,"  "  Pendennis,"  etc.,  besides  draw- 
ing for  Punch.  A  volume  entitled  "  Thackerayana,"  published  by 
Chatto  and  Windus,  London,  in  1875,  contains  nearly  six  hundred  of 
his  original  drawings  and  sketches,  and  fully  establishes  his  claims  to 
an  honorable  position  among  the  artists  of  the  nineteenth  century. 

"We  can  hardly  agree  with  those  who  hold  that  Thackeray  failed  as  an  artist  and 
then  took  to  his  pen.  There  is  no  proof  of  failure.  His  art  accomplishes  all  he 
set  it  to.  Had  he,  instead  of  being  a  gentleman's  son,  been  born  in  the  parish  of  St. 
Bartholomew  the  Great,  and  apprenticed,  let  us  say,  to  Raimbach  the  engraver,  we 
might  have  had  another,  and,  in  some  ways,  a  subtler  Hogarth.  He  draws  well  ;  his 
mouths  and  noses,  his  feet,  his  children's  heads,  all  his  ugly  and  queer '  mugs,'  are 
wonderful  for  expression  and  good  drawing.  With  beauty  of  man  or  woman  he  is  not  so 
happy  ;  but  his  fun  is,  we  think,  even  more  abounding  in  his  cuts  than  in  his  words."  — 
Dr.  John  Brown,  in  Spare  Hours. 

"  If  it  was  one  of  Thackeray's  few  fanciful  griefs  that  he  was  not  destined  for  a  painter 
of  the  grand  order,  it  doubtless  consoled  him  to  find  that  the  happier  gift  of  embodying 
that  abstract  creation,  an  idea,  in  a  few  strokes  of  the  pencil,  was  his  beyond  all  ques- 
tion, and  this  graceful  faculty  he  was  accustomed  to  exercise  so  industriously  that 
myriad  examples  survive  of  the  originality  of  his  invention  as  an  artist."  —  Introduction 
to  Thackerayana. 

"  Thackeray,  in  reply,  sent  a  caricature  portrait  of  himself,  drawn  by  his  own  hand, 
and  representing  a  winged  spirit,  in  a  flowing  robe  and  spectacles  on  nose.  Thackeray, 
in  early  life,  had  taken  to  painting,  and,  perhaps,  if  he  had  pursued  his  first  vocation, 
he  might  have  come  in  time  to  handle  the  brush  as  well  as  he  afterwards  handled  the 
pen.  At  any  rate  the  drawing  in  question,  as  I  can  bear  witness,  was  enough  to  bring 
tears  into  your  eyes  for  laughing."  —  Taylor's  Thackeray  the  Humorist,  etc. 

"  If  he  had  had  his  choice  he  would  rather  have  been  famous  as  an  artist  than  as  a 
writer  ;  but  it  was  destined  that  he  should  paint  in  colors  which  will  never  crack  and 
never  need  restoration.  All  his  artist  experience  did  him  just  as  much  good  in  litera- 
ture as  it  could  have  in  any  other  way,  and  in  traveling  through  Europe  to  see  pictures 
he  learned  not  only  them,  but  men,  manners,  and  languages."  — James  Hannay,  in  the 
Edinburgh  Courant. 

Thayer,  Abbott  H.  (Am.)  Born  in  Boston,  1849,  and  brought 
up  in  the  country,  where  he  became  familiar  with  the  brute  creation, 
the  painting  of  which  has  been  his  specialty.  He  began  to  paint 
from  nature  without  instruction  when  a  child  of  eight  years.  Later, 
he  studied  under  Henry  D.  Morse.  In  1867  he  settled  in  Brooklyn, 
studying  under  J.  B.  Whittaker  in  the  Brooklyn  Academy  of  Design, 
gaining,  in  1868,  the  gold  medal  for  the  best  drawing  from  the  an- 
tique. After  a  few  years  he  took  a  studio  in  New  York,  drawing  in 
the  Antique  Life  Schools  of  the  National  Academy,  under  L.  E.  Wil- 
marth.  He  went  to  Paris  in  1875,  where  he  entered  l'l^cole  des 
Beaux- Arts,  working  with  Lehmann,  and  afterwards  in  the  studio  of 
Gerome.  Among  his  more  important  pictures  are,  "Young  Lions  of 
Central  Park,"  life  size  (belonging  to  W.  H.  Thayer,  M.  D.,  of  Brook- 
lyn), "Gray  Wolf"  (belonging  to  A.  J.  C.  Skene,  M.  D.),  "Ice  in 
the  Biver "  (to  G,  C.  Brackett),  "  Cows  coming  from  Pasture "  (to 
Dr.  H.  P.  Farnham),  "Feeding  the  Cows"  (to  Mrs.  J.  O.  Stone), 
"  Boy  and  Dog "  (to  Rev.  A.  P.  Putnam),  "  Shamming  Sick "  (to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  287 


J.  0.  Low),  "  Autumn  Cornfield  "  (to  Mrs.  Bullard  of  New  York), 
"  Hunter  waiting  for  Game  "  (to  F.  A.  Faulkner,  Keene,  N.  H.), 
"View  on  the  Seine,"  "Cloudy  Day  in  the  Pasture,"  "Alderney 
Herd  in  Guernsey,"  "  Mountain  Pasture,"  "  Sleep,"  and  "  Child- 
hood" (Paris  Salon  of  1878),  exhibited  in  Brooklyn,  New  York,  and 
Paris.  His  "  Shamming  Sick,"  a  pair  of  pictures  representing  a  ter- 
rier dog  forgetting  feigned  illness  at  the  cry  of  "Eats  !"  was  drawn 
by  the  artist  on  the  block  for  the  Aldine  in  1874,  and  copied  in  the 
London  Sporting  and  Dramatic  News  in  1876. 

"  Mr.  Thayer's  '  Sleep '  loses  nothing  by  near  study  or  distant  view.  It  would  be 
hypercritical  to  find  fault  with  it  on  any  technical  grounds.    In  conception  it  is  most 

poetic  Delicate  gradings  of  gray  and  white  carry  the  eye  far  back  behind  the 

perfectly  relieved  little  head,  with  its  tender  tones  of  pearl  and  rose,  and  the  dark  spot 
of  color  (and  that  not  very  dark)  is  the  little  brown  puppy  that  sleeps  beneath  the  un- 
conscious hand  of  the  child.  Mr.  Thayer  has  been  studying  with  Gerome,  but  his  manner 
is  not  mannered,  as  many  of  the  rest  of  the  Beaux- Arts  students."  —  New  York  Inde- 
pendent, April  18,  1878. 

Theed,  "William.  (Brit.)  Born  in  1804.  Highly  regarded  as  a 
sculptor  of  portrait  busts  and  statues,  executing  during  his  long  career 
many  of  the  most  distinguished  people  of  Great  Britain.  Among  the 
better  known  of  his  works  are  the  statues  of  Sir  Isaac  Newton,  in 
bronze,  at  Grentham;  and  in  marble,  group  of  the  Queen  and  Prince 
Albert,  in  early  Saxon  costume,  at  Windsor;  statue  of  the  Prince  Con- 
sort, at  Balmoral;  Duchess  of  Kent,  at  Frogmore;  Burke,  in  the  House 
of  Lords;  Sir  William  Peel,  at  Greenwich  Hospital;  the  late  Lord 
Derby,  at  St.  George's  Hall,  Liverpool;  Sir  Robert  Peel,  at  Hudders- 
field;  Hallam  the  historian,  at  St.  Paul's  Cathedral;  Mackintosh  the 
historian,  at  Westminster  Abbey;  and  busts  of  John  Bright,  Sir  Henry 
Holland,  and  many  more.  He  is  also  sculptor  of  the  statue  repre- 
senting "  Africa,"  on  the  Albert  Memorial,  London. 

Thirion,  Eugene-Romain.  {Ft.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Picot,  Cabanel,  and  Fromentin.  In 
1872  this  artist  decorated  the  chapel  of  Saint-Joseph  in  the  church 
of  the  Trinity  at  Paris,  and  he  also  worked  with  Baudry  in  the  decoration 
of  the  Hotel  Paiva.  His  painting  in  the  above  chapel  is  praised  by 
the  critic,  Koger  Ballu,  in  the  "  Gazette  des  Beaux- Arts,"  February, 
1878.  At  the  Salon  of  1876  he  exhibited  "  Jeanne  d'Arc."  She  is 
represented  as  a  young  girl,  listening  to  the  voices  she  is  said  to  have 
heard  bidding  her  go  to  the  aid  of  the  King  of  France.  In  1875 
he  exhibited  "St.  Sebastian"  and  "  St.  Theresa";  in  1874,  "  Rebecca 
at  the  Fountain  "  and  "Field-Flowers";  etc.  This  painter  has  also 
exhibited  many  portraits. 

Thorn,  James  Crawford.  (Brit.- Am.)  A  native  of  America,  of 
Scottish  descent.  He  was  a  pupil  of  Edward  Frere  in  Paris.  He 
has  lived  and  practiced  his  profession  in  England  and  in  the  United 
States.  He  first  exhibited  in  London,  at  the  Royal  Academy,  in  1864, 
"  Returning  from  the  Wood,"  followed  by  "  Tired  of  Waiting,"  "  Go- 


288     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ing  to  School,"  and  "  The  Monk's  Walk."  In  the  French  Gallery, 
London,  he  has  exhibited,  at  different  seasons,  "  Household  Duties," 
"  Children  returning  from  Church,"  "  Love  in  the  Kitchen,"  "  The 
Farmyard,"  "  Return  of  the  Conscript,"  etc.  He  sent  to  the  National 
Academy,  New  York,  in  1878,  a  winter  landscape  with  figures,  and 
"  Le  jour  de  la  Toussaint."  His  "  Summer  "  and  "  Winter  "  belong 
to  Henry  P.  Cooper  ;  "  Kitten  and  Strawberries,"  to  Samuel  V. 
Wright.  His  "  Day  "  and  "  Night "  (panels),  and  "  Going  to  Church, 
Christmas  Eve,"  the  property  of  J.  M.  Burt,  were  at  Philadelphia  in 
1876.  A  number  of  his  landscapes  were  at  the  Mechanics'  Fair,  Bos- 
ton, in  1878. 

Thomas,  John  Evan.  (Brit.)  Native  of  Wales.  Died  in  1873 
at  an  advanced  age.  Was  a  pupil  of  Chantrey,  and  exhibited  at  the 
Royal  Academy,  for  many  years,  portrait  busts  and  statues,  as  well  as 
ideal  figures  ;  among  the  latter,  "  Music,"  in  1852,  and  the  "Racket- 
Player,"  in  1856.  He  is  the  author  of  the  statue  in  bronze  to  the 
Marquis  of  Bute  at  Cardiff,  of  the  statue  of  Wellington  at  Brecon, 
of  that  of  the  Prince  Consort  at  Tenby,  and  other  works  in  Wales 
and  other  parts  of  Great  Britain. 

Thomas,  William  Cave.  (Brit)  Born  in  London,  1820.  He  at 
first  turned  his  attention  to  sculpture,  and  entered  the  Royal  Acad- 
emy in  1838,  drawing  and  modeling  for  two  years.  In  1840  he  went 
to  Munich,  where  he  studied  drawing,  and  executed  several  cartoons. 
He  returned  to  England  in  1843,  and  devoted  himself  for  a  time  to 
oil-painting,  exhibiting  at  the  Royal  Academy,  in  1850,  "  Alfred  giv- 
ing his  last  Loaf  to  the  Pilgrims  "  ;  followed  in  different  years  by 
"  Alfred  visiting  Churches  at  Early  Dawn,"  "  Rivalry,"  "  The  Prot- 
estant Lady,"  "  Petrarch's  First  Sight  of  Laura,"  "  The  Heir  cast  out 
of  the  Vineyard."  In  water-color  he  has  painted  "  The  Lord  of  the 
Harvest,"  "  The  Fruit-Bearer,"  "  Morning,"  "  Dante  and  Beatrice," 
"  Sunset  on  Calvary,"  and  an  "  Ecce  Homo"  (belonging  to  the  late 
Prince  Consort).  He  received  a  prize  of  £  100  for  a  cartoon  of  West- 
minster Hall,  "St.  Augustine  preaching  to  the  Saxons,"  and  ,£400 
for  the  execution  of  "  The  Spirit  of  Justice,"  in  the  South  Kensing- 
ton Museum.  He  designed  also  several  decorations  for  the  Inter- 
national Exhibition  of  1862  in  London,  and  is  the  author  of  several 
valuable  books  upon  mural  decoration  and  social  economy. 

"  If  we  examine  Mr.  Cave  Thomas'  works  we  shall  find  them  characterized  by  a  re- 
markable solidity  of  grouping,  which  contrasts  favorably  with  the  somewhat  sparse  dis- 
position of  members  prevailing  in  paintings  that  aspire  to  be  historical,  and  which, 
irrespective  of  this  weakness,  are  not  contemptible."  —  J.  L.  Tupper,  in  English  Artists 
of  the  Present  Day. 

Thomas,  Gabriel- Jules.  (Fr.)  Born  at  Paris,  1821.  Member 
of  the  Institute.  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
Dumont  and  l'Elcole  des  Beaux- Arts.  Prix  de  Rome  in  1848.  His 
statue  of  "  Virgil"  (1861)  is  in  the  Luxembourg.  In  1876  he  exhib- 
ited at  the  Salon,  "  Christ  on  the  Cross,"  in  bronze  ;  in  1872,  four 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  289 


figures  in  wood,  representing  the  four  quarters  of  the  globe,  com- 
manded for  the  gallery  of  the  Hotel  of  Toulouse  by  the  Bank  of 
France  ;  in  1870,  "  Thought"  (statue,  marble)  ;  etc. 

Thomas,  George  H.  {Brit.)  (1824-1868.)  After  serving  an  ap- 
prenticeship to  G.  Bonner,  a  wood-engraver  in  London,  he  went  to 
Paris,  where  he  made  designs  for  illustrated  books.  He  subsequently 
spent  two  years  in  New  York,  upon  the  staff  of  a  pictorial  journal, 
making  also  some  graceful  drawings  for  the  engraving  of  American 
bank-notes.  Eeturning  to  Europe  in  1848,  he  went  to  Italy  to  com- 
plete his  art  studies,  and  furnished  many  vivid  sketches  of  the  Gari- 
baldi campaign  of  1849  for  the  London  Illustrated  News.  He  visited 
the  Crimea  for  the  same  paper  in  1854,  the  original  of  many  of  his 
drawings  being  in  possession  of  the  Queen.  Among  his  oil-paintings 
are,  "  Rotten-Row,"  "  The  Ball  at  the  Camp  of  Boulogne,"  "  Parade  at 
Potsdam  in  Honor  of  Queen  Victoria  in  1858,"  "Happy  Days," 
"  Coronation  of  the  King  of  Prussia  "  (painted  by  command),  "  Mar- 
riage of  the  Princess  Alice,"  "  The  Queen  and  Prince  Consort  at 
Aldershot  in  1859,"  and  "  The  Investing  of  the  Sultan  with  the  Order 
of  the  Garter,"  many  of  which  belong  to  the  Queen.  His  "  Apple- 
Blossoms "  and  "  Masterless  "  were  at  the  Royal  Academy  in  1868, 
the  year  of  his  death.  His  happiest  book  illustrations  were  those  for 
Wilkie  Collins'  "  Armadale,"  and  the  delineations  of  negro  character 
for  "  Uncle  Tom's  Cabin." 

Thompson,  Cephas  G.,  A.  N.  A.  {Am.)  Born  in  Middleborough, 
Mass.,  1809.  He  obtained  something  of  the  mechanism  of  art  from 
his  father,  Cephas  Thompson,  an  artist  who  painted  a  great  deal  in 
Southern  Italy,  but  he  was  comparatively  self-taught,  studying  and 
observing  closely  nature,  and  the  many  masters  he  has  known  inti- 
mately on  both  sides  of  the  Atlantic.  He  began  his  professional  career 
in  Plymouth,  Mass.,  when  nineteen  years  of  age,  finding  his  way  to 
Boston,  and  working  in  Bristol,  Providence,  and  Philadelphia.  He 
spent  ten  years  (1837  to  '47)  in  the  city  of  New  York,  painted  some 
forty  portraits  in  New  Bedford,  many  in  Boston,  and  went  to  Europe 
in  1852,  visiting  London,  Paris,  Florence,  and  Rome.  He  made  his 
home  for  seven  years  in  the  latter  city.  Since  1860  he  has  had  a 
studio  in  New  York.  He  is  an  Associate  Member  of  the  National 
Academy,  and  of  several  prominent  art  societies  of  Europe.  Mr. 
Thompson's  works  are  owned  throughout  America,  and  many  speci- 
mens are  in  England,  Russia,  France,  etc.  Before  going  abroad,  he 
painted  a  series  of  portraits  of  American  authors,  including  Hoffman 
(belonging  to  the  New  York  Historical  Society),  Dr.  Francis,  and 
others.  His  portrait  of  Hawthorne,  with  whom  in  Italy  he  was  on 
intimate  terms,  was  engraved,  and  is  in  the  edition  of  "Twice-Told 
Tales  "  published  by  Ticknor  and  Fields.  His  full-length  portrait  of 
Dr.  Matthews,  the  first  President  of  the  New  York  University,  is  in 
the  president's  room  of  that  institution.    His  portraits  of  William  C. 

VOL.  II.  13  S 


290     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Bryant  and  Mrs.  Bryant,  and  a  copy  of  the  "  Staffa  Madonna  of  Ra- 
phael," belonged  to  the  venerable  poet.  C.  H.  Rogers  of  New  York 
has  his  "Guardian  Angel";  Mr.  Wales  of  Boston,  "  Prospero  and 
Miranda";  Ex-Governor  Padelford,  of  Providence,  R.  I.,  "St.  Peter 
delivered  from  Prison  ";  Charles  Sprague,  the  banker-poet,  owned  his 
"  Spring  and  Autumn  " ;  and  others  of  his  pictures  belong  to  the  family 
of  Hawthorne,  to  Mr.  Longfellow,  to  E.  H.  Miller,  to  George  Bliss  of 
New  York,  and  to  Mrs.  Lee  Smith  of  Ravenswood,  N.  Y. 

"It  is  certainly  a  beautiful  picture,  full  of  genius  and  spirit  ['St.  Peter  led  from 
the  Prison  by  an  Angel '].  It  is  very  rarely  you  see  a  production  so  effective  in  all  its 
parts.  The  background  equals,  without  rivaling  or  forcing  attention  from  the  promi- 
nent and  principal  objects  in  the  foreground.  The  depth  of  shadow  in  the  one  does  not 
prevent  its  distinctness  and  accuracy  of  outline  from  telling  a  striking  tale,  while  the 
brightness  and  vividness  ot  the  figures  in  the  other  lastingly  impress  themselves  on  the 
eye  and  the  memory."  —  Mrs.  Gibson,  in  the  Richmond  (  7a.)  Enquirer,  1859. 

"  Not  one  of  our  artists  has  brought  back  with  him  from  Italy  a  more  thorough 
knowledge  and  appreciation  of  the  old  masters,  technically,  historically,  and  authen- 
tically, than  Cephas  G.  Thompson.  He  conscientiously  endeavors  to  infuse  their  lofty 
feeling  and  motives  into  his  own  refined  manner."  —  Jarves,  Art  Idea. 

"  ....  Or  we  might  bow  before  an  artist  who  has  wrought  too  sincerely,  too  relig- 
iously, with  too  earnest  feeling  and  too  delicate  a  touch,  for  the  world  at  once  to  recog- 
nize how  much  toil  and  thought  are  compressed  into  the  stately  brow  of  Prospero  and 
Miranda's  maids  in  loveliness  ;  or  from  what  a  depth  within  this  painter's  heart  the 
angel  is  leading  forth  St.  Peter."  —  Hawthorne,  in  the  Marble  Faun. 

Thompson,  Jerome,  A.  N.  A.  {Am.)  Born  in  Middleborough, 
Mass.,  1814.  Son  of  Cephas,  and  younger  brother  of  Cephas  G.  Thomp- 
son, N.  A.  He  early  displayed  artistic  tastes,  and  began  his  career  as 
a  sign-painter  in  the  neighborhood  of  his  native  town.  After  painting 
portraits  for  some  years  on  Cape  Cod,  he  went  to  New  York  at  the 
age  of  seventeen,  devoting  himself  from  that  period  to  the  study  and 
practice  of  his  art.  He  had  no  masters,  and  is  a  graduate  of  no  schools. 
His  professional  life  has  been  spent  in  New  York.  In  1852  he  went 
to  Europe,  spending  two  years.  He  was  elected  an  Associate  of  the 
National  Academy  about  1850,  but  has  not  exhibited  in  its  gallery 
since  1863  or  '64.  Although  still  painting,  his  pictures  are  not  shown 
by  him  to  the  public,  and  his  life  of  late  years  has  been  very  retired. 
Among  the  better  known  of  his  works  are,  "  Reminiscences  of  Mount 
Mansfield,"  "  The  Old  Oaken  Bucket,"  "  Home,  Sweet  Home,"  "  Wood- 
man, spare  that  Tree,"  "  Hiawatha's  Homeward  Journey  with  Minne- 
haha," "  The  Home  of  my  Childhood,"  "  Coming  thro'  the  Rye," 
"  The  Land  of  Beulah,"  "  The  Voice  of  the  Great  Spirit,"  and  many 
others,  none  of  which  have  been  exhibited  by  Mr.  Thompson,  although 
a  few  have  been  sent  to  different  galleries  by  their  owners.  Many  of 
them  have  been  engraved  and  chromoed. 

"  Mr.  Jerome  Thompson  has  painted  a  very  beautiful  and  attractive  picture  illus- 
trating'The  Old  Oaken  Bucket.'  It  is  at  once  an  illustration  of  these  well-known 
verses,  and  a  portrait  of  the  early  home  of  their  author  in  Scituate,  Mass.  While  he  has 
made  a  picture  that  is  very  agreeable  to  look  at,  the  artist  has  not  attempted  to  secure 
the  pleasure  of  the  eyes  at  the  expense  of  truth,  by  dressing  his  subject  in  charms  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  291 


do  not  belong  to  it.  He  has  done  us  all  good  by  painting  this  unpretending,  truthful 
picture."  —  New  York  Tribune,  May  14,  1868. 

"Jerome  Thompson,  whose  pictures  so  charm  the  natural  feelings  of  the  heart,  has 
gratified  the  public  with  another  work  from  his  easel,  '  Home,  Sweet  Home,'  a  compan- 
ion to  the  1  Old  Oaken  Bucket. '  It  is  an  ideal  creation,  and  so  truthful  to  nature  that 
all  ideality  is  lost,  ....  and  herein  lies  the  charm  of  Jerome  Thompson's  pencil  and  brush. 
Stand  before  the  picture,  and  the  longer  you  look,  the  more  vividly  will  you  recall  some 
half-forgotten  scene,  or  detect  the  unexplained  growth  from  a  counterpart  from  out  the 
wilderness,  bounded  by  the  silvery  lines  of  memory. "  — -  New  York  Turf,  Field;  and  Farm, 
October  8,  1868. 

"The  'Beacon  Fire,'  another  work  by  the  same  artist,  Jerome  Thompson,  gives  a 

striking  picture  of  the  region  of  Lake  Pepin  The  composition  is  quite  picturesque 

and  effective,  and  in  all  these  works  Mr.  Thompson  shows  the  pleasing  charm  that  so 
endears  his  ballads  of  the  pencil  to  ingenuous  hearts  and  simple  tastes."  —  New  York 
Home  Journal,  January  3, 1872. 

Thompson,  Launt,  N.  A.  {Brit- Am.)  Born  in  Ireland,  1833.  Re- 
moved  to  America  in  1847.  Settled  in  Albany,  N.  Y.  Entered  the 
office  of  a  professor  of  anatomy  in  that  city,  and  subsequently  became 
a  student  of  the  medical  college.  He  early  displayed  a  talent  for  draw- 
ing, occupying  his  leisure  hours  with  his  pencil.  He  abandoned 
medicine  to  become  a  pupil  of  the  sculptor  Palmer,  and  worked  in 
his  studio  in  Albany  for  nine  years.  In  1858  he  moved  to  New 
York,  was  made  an  Associate  of  the  National  Academy  in  1861,  and 
Academician  in  1862.  In  1875  he  took  a  studio  in  Florence,  where 
he  still  remains  (1878).  Among  his  works  are  portrait  busts  of  Wil- 
liam C.  Bryant  (for  Central  Park),  of  James  Gordon  Bennett,  Robert 
B.  Minturn,  Captain  Charles  Marshall,  Edwin  Booth  as  "  Hamlet," 
Professor  Morse,  Dr.  Tyng  (1870),  Parke  Godwin,  and  C.  L.  Elliott, 
N.  A.  (1871).  Among  his  ideal  works  are,  "  Elaine,"  "  The  Trap- 
per," "  Morning  Glory,"  and  "  Lily  Maid."  His  statue  of  Napoleon 
(bronze)  and  a  bust  of  a  "  Rocky  Mountain  Trapper "  were  at  the 
Paris  Exposition  of  1867. 

Thompson,  A.  Wordsworth,  N.  A.  {Am.)  Born  in  Baltimore, 
1840.  In  1861  he  went  to  Paris,  and  began  the  study  of  art  under 
Charles  Gleyre  in  1862,  and,  later,'  was,  for  a  time,  a  pupil  of  lilmile 
Lambinet.  In  1864  he  entered  the  studio  of  Albert  Pasini,  working 
there  one  year.  His  first  publicly  exhibited  picture,  "  Moorlands  of 
Au-Fargi,"  was  at  the  Paris  Salon  of  1865.  In  1868  he  settled  in 
New  York,  since  then  his  home,  with  the  exception  of  occasional 
visits  to  Paris.  In  1873  he  sent  to  the  National  Academy  "  Desola- 
tion," upon  the  strength  of  which  he  was  made  an  Associate  of  that 
institution  ;  he  was  elected  Academician  in  1875.  In  1878  he  joined 
the  Society  of  American  Artists,  sending  to  their  first  exhibition,  the 
same  year,  "  The  Road  to  the  Saw- Mill."  Among  the  better  known 
of  Wordsworth  Thompson's  works  are,  "  The  Port  of  Menazzio,  Lake 
Como  "  (owned  by  William  H.  Davis  of  New  York),  "  Desolation  " 
(now  in  Buffalo),  "  Steamboat-Landing  at  Menenazzio "  (owned  by 
Mr.  Fairbanks  of  St.  Johnsbury,  Vt  ),  "  Virginia  in  the  Olden  Times" 


292     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(belonging  to  D.  H.  McAlpine,  N.  Y.),  "  The  Vesper  Hour  "  (to  Wil- 
liam Brookfield,  N.  Y.),  "  Annapolis  in  1776  "  (to  the  Academy  of 
Fine  Arts  in  Buffalo,  N.  Y.),  "  Traveling  in  Corsica  "  (to  Isaac  S. 
Piatt).  To  the  Exhibitions  of  the  National  Academy  he  has  been  a 
regular  contributor  for  some  years,  sending,  in  1869,  "  View  of  Mount 
Etna"  ;  in  1870,  "  Reminiscence  of  the  Potomac"  ;  in  1871,  "Even- 
ing on  the  Moor"  ;  in  1874,  "  A  Picnic  on  the  Rocks,  Lake  George  "  ; 
in  1875,  "Gathering  Apples";  in  1876,  "A  Midsummer's  Day  on 
Long  Island"  ;  in  1877,  "  Pursuit  of  Knowledge  under  Difficulties" 
and  "  By  the  Sea,  Mentone  "  ;  and,  in  1878,  "  A  Review  at  Phila- 
delphia in  1777."  He  sent  several  works  to  Philadelphia  in  1876, 
and  "  The  School-House  on  the  Hill "  to  the  Paris  Exposition  of 
1878. 

"  Mr.  Thompson  has  caught  the  sorrowful  sentiment  of  the  scene  ['  Desolation  '],  and 
embodied  all  its  poetry  and  romance.  Apart  from  its  merits  as  a  work  of  art,  the  pic- 
ture will  be  valuable  as  an  historical  souvenir,  for  doubtless  the  ruins  of  St.  Cloud  will 
before  long  be  cleared  away,  and  there  is  no  probability  of  the  palace  being  rebuilt.  We 
learned  afterwards,  as  we  guessed  from  his  work,  that  Mr.  Thompson,  starting  with  a 
genuine  vocation  for  art,  had  studied  it  with  rare  fidelity,  had  passed  years  in  the  ate- 
liers of  the  best  artists  of  Paris,  had  devoted  his  days  and  nights  to  careful  drawing  of 
the  human  figure,  from  the  marble  and  from  life,  that  in  pursuit  of  the  picturesque  he 
had  made  the  tour  of  Europe  on  foot,  etc.,  and  also  that  he  devoted  fully  as  much  time 
to  American  scenery,  making  not  merely  drawings,  but  elaborate  pictures  in  the  fields." 
—  Boston  Daily  Globe,  May  7,  1873. 

"A.  W.  Thompson  exhibited  'On  the  Sands,  East  Hampton'  and  'Virginia  in  the 
Olden  Times,'  both  works  showing  marked  evidence  of  discipline  and  careful  study. 
There  is  a  tendency  towards  the  adoption  of  the  French  manner  in  this  artist's  work, 
which  shows  whence  he  derived  this  discipline.  It  is  a  question  whether  a  better  man- 
ner may  not  be  derived  directly  from  nature  without  the  interposition  of  another's 
method  of  viewing  things."  —  Prof.  Weir's  Official  Report  of  the  American  Centennial 
Exhibition  o/1876. 

Thompson,  Elizabeth  (Mrs.  Butler).  (Brit.)  Born  about  1844. 
As  a  child  she  evinced  a  decided  taste  for  drawing  soldiers  and  horses. 
Entered  the  South  Kensington  schools  ;  painted  for  some  years  as  an 
amateur,  and  did  not  exhibit  in  public  until  1873,  when  she  sent  to 
the  Royal  Academy  "  Missing,"  a  picture  which  attracted  great  at- 
tention. In  1874  she  exhibited  her  famous  "Roll-Call"  (purchased 
by  the  Queen),  which  achieved  a  popularity  for  itself  and  for  its 
painter  almost  without  precedent  in  the  history  of  art  in  England. 
Her  picture  of  "  The  28th  Regiment  at  Quatre-Bras  "  was  at  the  Royal 
Academy,  1875,  since  which  she  has  exhibited  at  private  galleries, 
"  Balaklava,"  in  1876,  and  "  The  Return  from  Inkerman  "  (purchased 
for  ,£3,000  by  the  Fine  Art  Society  in  1877).  One  of  her  latest  works 
(R.  A.,  1879)  is  "  'Listed  for  the  Connaught  Rangers."  Among  her 
other  works  is  "  The  Magnificat,"  a  religious  picture  painted  in  1869. 

In  water-colors  Miss  Thompson  has  painted  "  On  Duty,"  a  trooper 
of  the  Scot's  Grays  (1875);  "Scot's  Grays  Advancing,"  "Cavalry  at 
a  Gallop,"  "Sketches  in  Tuscany"  (1877),  etc.  "The  Return  from 
Inkerman"  was  at  the  Paris  Exposition  of  1878. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  293 


"  I  never  approached  a  picture  with  more  iniquitous  prejudice  against  it  than  I  did 
Miss  Thompson's  [' Quatre-Bras '],  partly  because  I  have  always  said  that  no  woman 
could  paint,  and  secondly  because  I  thought  what  the  public  made  such  a  fuss  about 
must  be  good  for  nothing.  But  it  is  Amazon's  work,  this,  no  doubt  of  it,  and  the  first 
fine  pre-Raphaelite  picture  of  battle  we  have  had  ;  profoundly  interesting,  and  showing 
all  manner  of  illustrative  and  realistic  faculty.  ....  But  actually  here,  what  I  suppose 
few  people  would  think  of  looking  at,  the  sky  is  most  tenderly  painted,  and  with  the 
truest  outline  of  cloud  of  all  in  the  Exhibition;  and  the  terrific  piece  of  gallant  wrath 
and  ruin  on  the  extreme  left,  when  the  cuirassier  is  catching  round  the  neck  of  his 
horse  as  he  falls,  and  the  convulsed  fallen  horse,  seen  through  the  smoke  below,  is  wrought 
through  all  the  truth  of  its  frantic  passion,  with  gradations  of  color  and  shade  which  I 
have  not  seen  the  like  of  since  Turner's  death."  —  Ruskin's  Notes  of  the  Academy,  1875. 

"  '  Inkerman  '  is  simply  a  marvelous  production  when  considered  as  the  work  of  a 

young  woman  who  was  never  on  the  field  of  battle  No  matter  how  many  figures 

she  brings  into  the  scene,  or  how  few,  you  may  notice  character  in  each  figure  ;  each  is 
a  supreme  study."  — Art  Journal,  August,  1877. 

"  It  would  be  natural  for  some  errors  to  appear  in  them  ['Roll-Call,'  'Quatre-Bras,' 
and  '  Balaklava '] ;  the  wonder  is,  considering  the  circumstances,  that  they  are  so  few. 
As  works  of  art  we  should  say  that  they  display  real  pathos  and  dramatic  power  in 
parts,  often  with  effective  drawing  of  the  horses.  But  the  power  is  too  scattered,  the 
composition  lacks  simplicity,  breadth,  concentration.  While  isolated  groups  are  very 
well  conceived,  and  would  appear  well  as  separate  paintings  or  episodes,  they  do  not 
sufficiently  harmonize  to  form  the  unity  of  one  great  composition.  The  coloring  is  also 
sometimes  very  good,  and  then  again  is  impaired  by  crude  unnatural  yellows  or  other  ^ 
tints  out  of  tone  with  the  rest.  Miss  Thompson's  genius  seems  to  be  lyrical  rather  than 
epic."  —  Benjamin's  Contemporary  Art  in  Europe. 

Thompson,  Albert.  (Am.)  Born  at  Woburn,  Mass.,  1853.  He 
received  his  early  art  education  in  Boston.  In  1872  he  spent  six 
months  in  European  travel,  going  abroad  again  in  1874,  with  J.  F. 
Cole  and  E.  L.  Weeks,  when  he  visited  Great  Britain,  France,  and 
Italy,  and  studied  in  the  continental  galleries.  In  1873  he  became  a 
pupil  of  W.  E.  Norton.  He  paints  landscapes  and  figures,  exhibiting 
at  the  Boston  Art  Club  and  other  galleries.  He  is  the  author  of  a 
work  entitled  "Elementary  Perspective,"  published  in  1878. 

"  Mr.  Albert  Thompson  has  a  number  of  truly  fine  pictures  in  this  collection.  In  an 
'  Apple-Orchard,  —  Summer,'  are  purity  of  atmosphere  and  fine  contrasts  of  color.  His 
'  Cattle  on  a  Hillside  '  is  a  sweet  composition,  and  Mr.  Thompson's  knowledge  of  the 

anatomy  is  here  conspicuous  His  '  Landscape  and  Cattle,'  '  Summer  Afternoon,' 

and  '  Lake  Winnipiseogee  from  Wolfborough,'  all  attest  Mr.  Thompson's  power  in  selec- 
tion of  subject,  and  nice  gray  qualities,  as  well  as  for  tone  and  quality  of  rich  color."  — 
Boston  Transcript. 

"At  Noyes  and  Blakeslee's  gallery  a  number  of  Albert  Thompson's  paintings  are  now 
on  exhibition.  One  is  a  very  life-like  study  of  an  Italian  boy,  two  or  three  are  pic- 
turesque scenes  in  Normandy,  and  among  the  smaller  pictures  is  a  wood  interior  and  a 
bit  of  pasture-land,  with  lowering  clouds  above,  tha,t  will  attract  especial  notice.  The 
cattle  which  Mr.  Thompson  so  freely  introduces  into  his  landscapes  are  excellently 
drawn,  and,  like  J.  Foxcroft  Cole,  he  knows  just  where  to  place  them.  All  of  the  pic- 
tures are  fresh  in  tone,  broad  in  treatment,  and,  while  representing  a  variety  of  subjects, 
show  at  the  same  time  a  marked  individuality."  —  Boston  Advertiser. 

Thorburn,  Robert,  A.  R.  A.  (Brit.)  Born  in  Dumfries,  1818. 
Entered  the  Drawing  Academy  of  the  Royal  Institution,  Edinburgh, 
in  1833,  and  the  Royal  Academy,  London,  in  1836.   He  first  exhib- 


294     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ited  at  the  Royal  Academy  in  1837.  Until  the  introduction  of  pho- 
tography he  devoted  himself  to  the  painting  of  miniatures,  in  which 
he  met  with  decided  success.  Among  his  sitters  were  the  Queen  and 
several  of  her  children,  the  Prince  Consort,  and  other  distinguished 
people.  He  was  admitted  to  the  Academy  as  an  Associate  in  1848, 
and  received  a  first-class  gold  medal  at  the  Paris  Exposition  of  1855. 
In  later  years  he  has  painted  life-size  portraits  in  crayon  and  oil,  and 
ideal  figure-pictures,  exhibiting  at  the  Royal  Academy,  in  1864, 
"Where  shall  I  take  Refuge?";  in  1865,  "Asleep"  and  "On  the 
Esk"  ;  in  1866,  "The  Orphans";  in  1867,  "Scotch  Stream";  in 
1868,  "Forecasting"  ;  in  1869,  "Undine"  and  "Country  Life";  in 

1870,  "John  the  Baptist"  and  "Catherine  of  Aragon";  in  1871, 
"Summer"  and  "The  Concealment  of  Moses";  in  1872,  "The 
Widow's  Stay  "  ;  in  1873,  "  Rebecca  at  the  Well  "  ;  in  1874,  "  In  the 
Meadow"  and  "On  the  Hillside  "  ;  in  1875,  "  On  the  West  Coast  of 
Scotland"  ;  in  1876,  "  Christian  descending  the  Hill  Difficulty"  ;  in 
1878,  "  The  Slough  of  Despond  "  and  "  Out  in  the  Cold." 

"  Thornburn's  miniatures  combine  truth  and  spirit  with  graceful  grouping  and  deli- 
cacy of  execution."  —  Mrs.  Tytler's  Modern  Painters. 

Thorndike,  G.  Quincy,  A.  N.  A.  (Am.)  Born  in  Boston,  about 
1825.  Graduated  at  Harvard  University  in  1847,  when  he  visited 
Europe,  studying  for  some  time  in  Paris.  Returning  to  America,  he 
settled  in  Newport,  R.  I.,  devoting  himself  to  landscapes  and  marine 
views.  Among  the  better  known  of  his  pictures  are,  "  The  Wayside 
Inn,"  "  Swans  in  the  Central  Park,"  "  The  Lily  Pond,"  "  The  Dump- 
lings, Newport,"  and  "View  near  Stockbridge,  Mass." 

"  Thorndike  is  so  thoroughly  French  in  style  and  motive  that  his  pictures  require 
naturalization  before  being  popularly  welcomed  at  home."  —  Jarves,  Art  Idea. 

Thornycroft,  Mary.  (Brit.)  Born  in  1814.  Daughter  of  John 
Francis  the  sculptor,  whose  pupil  she  was.  She  evinced  decided  taste 
for  art  as  a  young  girl,  modeling  busts  and  ideal  subjects,  and  ex- 
hibiting at  the  Royal  Academy  at  an  early  age.  Her  first  important 
work  was  a  life-sized  figure,  entitled  "  The  Flower-Girl,"  which  at- 
tracted some  attention.  In  1840  she  married  T.  Thornycroft,  one  of 
her  father's  pupils,  and  with  her  husband  went  to  Rome  in  1842, 
spending  a  year  in  that  city  at  work  and  in  study.  A  few  years  later 
she  was  commissioned  by  the  Queen  to  execute  statues  of  the  children 
of  the  Royal  Family,  which  were  designed  in  character,  as  the  "  Four 
Seasons,"  were  exhibited  at  the  Royal  Academy,  and  were  much 
praised.  To  the  Paris  Exposition  of  1855  she  contributed,  "  A  Girl 
Skipping."  In  1861  she  exhibited,  at  the  Royal  Academy,  "  Princess 
Beatrice  "  (belonging  to  the  Queen)  ;  in  1863,  "  The  Princess  of  Wales  8 
and  "  Princess  Louis  of  Hesse  "  ;  in  1869,  "  A  Young  Cricketer  "  ;  in 

1871,  "  The  Princess  Louise"  ;  in  1872,  "Melpomene"  ;  in  1875, 
"Princess  Christian"  ;  in  1877,  "  The  Duchess  of  Edinburgh." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  295 


"  Sculpture  has  at  no  time  numbered  many  successful  followers  among  women.  We 
have,  however,  in  Mrs.  Thornycroft,  one  such  artist,  who,  by  some  recent  advance  and 
by  the  degrees  of  success  which  she  has  already  reached,  promises  fairly  for  the  art. 
Some  of  this  lady's  busts  have  refinement  and  feeling."  ~  Palgrave's  Essays  on  Art, 
1863. 

Thornycroft,  Thomas.  (Brit.)  A  contemporary  English  sculp- 
tor. He  was  a  pupil  of  John  Francis.  Among  his  works  are,  "  James 
I."  and  "  Charles  I."  (in  marble),  in  the  Koyal  Gallery  of  the  palace 
of  Westminster,  "The  Prince  Consort,"  "Melpomene,"  "Thalia," 
"  Clio,"  etc.  (in  bronze),  and  many  portrait  busts  and  statues. 

Thornycroft,  Hamo  (sculptor)  and  Helen  and  Theresa  Thorny- 
croft (painters),  children  of  the  two  preceding  artists,  have  inherited 
the  family  tastes  and  talents  for  art.  They  all  exhibit  their  works  at 
the  Royal  Academy,  London.    [Hamo  elected  A.  K.  A.  in  1881.] 

Tidemand,  Adolphe.  (Norwegian.)  Born  at  Mandal  (1814- 1876). 
Chevalier  of  the  Orders  of  Saint  Olaf  and  the  Legion  of  Honor. 
Court  painter  in  Norway.  Member  of  the  Academies  of  Berlin, 
Amsterdam,  Copenhagen,  and  Stockholm.  Studied  first  at  the  Acad- 
emy of  Copenhagen,  then  at  that  of  Diisseldorf  under  Hildebrandt 
and  Schadow.  Tidemand  decorated  the  chateau  of  Oscarshall,  near 
Christiana.  He  painted  landscapes  and  historic  genre  subjects. 
His  most  important  work  is  "  The  Baptism  of  Christ,"  which  is  in  a 
church  in  Christiana.  Among  his  pictures  may  be  mentioned,  "  The 
Distribution  of  the  Sacrament  to  the  Aged  and  Infirm,  according  to 
the  Lutheran  Form,"  "  Single  Combat  in  Ancient  Times,"  "  Village 
Funeral  in  Norway,"  "  Farewell  of  Emigrants  leaving  for  America," 
and  "  Young  Man  Preaching."  His  picture  of  "  The  Assembly  of  the 
Haugiens,"  a  very  important  work,". is  in  the  Diisseldorf  Gallery  ;  it 
has  been  reproduced  several  times  by  the  artist.  Tidemand  has 
vigor  of  conception,  vivacity  of  expression,  and  the  power  of  harmo- 
nizing his  groups,  and  giving  a  characteristic  expression  to  each  face 
and  figure. 

"  It  was  in  studying  the  manners  and  the  costumes  of  the  peasants  of  his  country  and 
reproducing  them  on  his  canvas,  that  he  made  an  original  and  merited  reputation. 
Tidemand  had  not  the  temperament  of  a  colorist ;  but  his  color,  a  little  cold  and  dull, 
failed  not  to  harmonize  with  his  compositions,  intelligently  arranged,  and  frequently  of 

a  remarkable  character  He  was,  above  all,  a  painter  of  genre,  or  rather  a  painter 

of  manners,  and  one  of  the  more  distinguished  ;  a  conscientious  and  learned  artist,  with 
a  talent  severe  and  elevated."  —  L'Art,  1876. 

"  The  primeval  strength  of  the  Norwegian  peasant  would  never  have  been  so  well 
known  if  this  artist  had  not  represented  it  by  academical  idealization.  His  feeling, 
conception,  and  masterly  individualization  transfigure  most  of  his  personages,  even 
when  they  are  not  correct  according  to  the  accepted  idea  of  beauty.  His  color  is  fresh, 
strong,  and  of  great  harmony  ;  his  drawing  broad  and  bold,  but  without  pretension. 
Free  from  forced  contrasts,  his  pictures  have  the  simplicity  of  nature,  and  are  distin- 
guished for  careful  and  conscientious  study,  and  a  proper  adaptation  of  parts."  —  Unsere 
Zeit,  October,  1876. 

Tidey,  Arthur.  (Brit.)  Born  in  1808.  Brother  of  Henry  Tidey. 
He  was  a  fashionable  painter  of  portraits  in  miniature,  before  the 


296     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


invention  of  photography,  and  still  exhibits  at  the  Royal  Academy. 
He  is  a  resident  of  London. 

Tidey,  Henry.  {Brit.)  (1814-1872.)  Received  his  first  in- 
struction in  art  from  his  father,  John  Tidey,  and  began  the  practice 
of  his  profession  as  a  painter  of  portraits  in  oil,  having  among  his 
sitters  members  of  the  aristocracy  and  of  the  Royal  Family,  and  ex- 
hibiting frequently  at  the  Royal  Academy.  In  the  later  years  of  his 
life,  however,  he  devoted  himself  entirely  to  water-colors,  and  was 
made  a  member  of  the  Institute  in  1858,  contributing  to  its  gallery  in 
the  same  year,  "  The  Feast  of  Roses  "  (purchased  by  the  Queen)  ;  in 
1860  he  painted  "Queen  Mab,"  for  which  he  received  two  medals  ; 
in  1863,  "Christ  blessing  Little  Children"  ;  in  1864,  "The  Night  of 
the  Betrayal."  Among  his  later  works  are,  "  Sardanapalus,"  in  1870  ; 
"  Seaweeds,"  in  1871  ;  and  "  Castles  in  the  Air,"  in  1872. 

Tieck,  Christian  Frederic.  {Ger.)  Born  at  Berlin  (1776-  1851). 
Member  of  the  Academy  of  Berlin,  and  Director  of  the  division  of 
Statues  of  the  Museum  of  that  city.  Pupil  of  Schadow  in  Ger- 
many and  of  David  in  France.  This  sculptor  traveled  much,  and  re- 
mained a  long  time  at  Carrara,  where  he  became  the  intimate  friend 
of  Rauch.  Tieck  was  more  successful  in  portrait  busts  than  in  em- 
bodying imaginary  conceptions.  He  had  many  sitters  among  people 
of  mark.  Among  his  busts  may  be  mentioned  those  of  the  Emperor 
of  Germany  (in  the  Salle  des  Etats  at  Berlin),  the  King  of  Bavaria, 
Schelling,  Schinkel,  Goethe,  Lessing,  etc.  He  assisted  in  the  decora- 
tion of  the  new  chateau  at  Weimar  ;  he  was  charged  with  the  deco- 
ration of  the  new  theater  at  Berlin  ;  the  portal  of  the  Cathedral, 
Berlin  ;  and  the  models  of  the  Genii  for  the  monument  of  Saalfeld 
and  that  of  Kreuzberg.  Tieck  was  very  active  in  establishing  a  gal- 
lery of  models  from  antique  statues  and  monuments  at  the  Museum 
of  Berlin,  and,  together  with  Beuth,  Schinkel,  and  Rauch,  he  exe- 
cuted a  large  number  of  these  copies. 

Tiffany,  Louis  C,  N.  A.  {Am.)  Born  in  the  city  of  New  York 
in  1848.  Was  a  pupil  of  George  Inness  for  some  time,  studying 
subsequently  in  Paris  and  under  Leon  Belly.  He  has  traveled  ex- 
tensively in  France,  Africa.  Spain,  and  other  countries,  jointing  many 
characteristic  pictures  of  Eastern  life.  He  was  made  a  member  of  the 
Water- Color  Society  in  1870,  an  Associate  of  the  National  Academy 
in  1871,  and  Treasurer  of  the  Society  of  American  Artists  in  1878. 
To  the  National  Academy  (in  oil)  he  has  sent  "A  Dock  Scene, 
Yonkers,"  in  1869  ;  "  Fruit- Vender,  under  the  Sea- Wall  at  Nassau," 
in  1870;  "Hunter's  Dinner "  and  "  Street  Scene  in  Tangiers,"  in 
1872  ;  "Market-Day  outside  the  Wall,  Tangiers,"  in  1873  ;  "Clouds 
on  the  Hudson,"  in  1874  ;  "  Ceramic  Wares  "  and  a  "  Study  at 
Quimper,  Brittany,"  in  1877  ;  "  A  Laborious  Rest "  and  several 
street  scenes,  in  1878.  To  the  Water-Color  Exhibition  in  1869  he 
contributed  "  Venice  "  ;  in  1872,  "  Meditation  "  ;  in  1874,  "  A  Mer- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  297 


chant  of  the  East 9  ;  in  1876,  "  A  Shop  in  Switzerland";  in  1877, 
"  An  Old  Shop  at  Algiers  "  and  "  The  Palace  of  the  Pasha  Ali  Ben 
Haessein,  at  Algiers  "  ;  in  1878,  "  The  Cobblers  of  Boufarik."  To 
Philadelphia,  in  1876,  he  contributed  (in  water-color),  "  Old  and  New 
Mosques  at  Cairo,"  "  Lazy  Life  in  the  East,"  and  "  A  Street  Scene  in 
Cairo  "  (belonging  to  George  D.  Morgan).  To  Paris  in  1878  he  sent, 
"Duane  Street,  New  York  "(in  oil),  and  "  Market-Day,  Morlaix" 
and  "  The  Cobblers  of  Boufarik  "  (in  water-colors).  His  "  Life  in  the 
East,"  a  view  of  the  old  Sub-Treasury  Building,  Tangiers,  in  the 
Johnston  Collection,  is  now  in  the  possession  of  Mrs.  John  C.  Green. 
His  "  Citadel  at  Cairo  "  belongs  to  Charles  Storrs  of  Brooklyn  ;  his 
"  Old  Second-Hand  Shop  at  Geneva,"  to  Joseph  Millbank  ;  his 
"  New  London  Harbor  "  (water-color),  to  Samuel  V.  Wright. 

Tilton,  John  Rollin.  {Am.)  Born  in  Loudon,  N.  H.,  1833. 
He  has  been  a  close  student  of  the  Venetian  school  of  painting, 
especially  of  Titian,  but  is  a  graduate  of  no  art  academy,  and  has 
studied  under  no  master.  His  professional  life  has  been  spent  in 
Italy,  chiefly  in  Rome.  Many  of  his  landscapes  are  in  the  collections 
of  the  Marquis  of  Sligo,  Sir  William  Drummond  Stuart,  Lord  Am- 
berly,  Lady  Ashburton,  and  others  in  England.  Marshall  0.  Roberts 
of  New  York  owns  his  "  Kem  Ombres."  He  exhibited  at  the  Royal 
Academy,  London,  in  1873,  "  The  Palace  of  Thebes,"  etc.  Mrs.  A. 
Mitchell  of  Milwaukee  owns  an  Egyptian  view  ;  Martin  Brimmer 
of  Boston,  "  Como  "  and  "  Venice  "  ;  Fletcher  Adams  of  New  York, 
"  Venetian  Fishing-Boats."  He  has  exhibited  at  the  Royal  Academy, 
London,  National  Academy,  New  York,  Boston  Athenaeum,  etc.  To 
the  Centennial  in  Philadelphia,  in  1876,  he  sent  "  The  Lagoons  of 
Venice  "  and  "  Kem  Ombres." 

"  Of  the  American  artists  who  have  won  fame  for  themselves  by  persevering  industry. 
Mr.  Tilton  is  a  prominent  example.  He  is  the  first  American  painter  since  Benjamin 
West  whose  works  have  received  special  commendation  from  the  President  of  the  Royal 
Academy,  who,  as  some  of  our  readers  will  recollect,  at  the  annual  dinner  last  year, 
complimented  Mr.  Tilton,  in  the  most  flattering  terms,  on  the  success  of  his  picture  of 
4  Kem  Ombres,'  Upper  Egypt,  which  was  placed  'on the  line'  at  the  last  Exhibition." 
—  London  Daily  News,  1874. 

44  A  long  and  loving  observation  of  Nature  in  many  climes  and  in  all  her  moods  has 
enabled  this  artist  [John  R.  Tilton]  to  do  by  Nature  as  an  experienced  portrait-painter 
does  by  his  sitters,  to  select  each  subject  at  its  best,  at  the  most  favorable  moment  of 
the  day,  and  of  the  year,  and  under  the  most  favorable  circumstances  of  light  and 
atmosphere  ;  and  the  result  is  that  this  little  view  of  Orvieto  makes  a  singular  contrast 
of  tone  to  that  of  the  4  Thebes.'    The  Valley  of  the  Nile  in  the  latter  is  at  its  greenest, 

and  yet  it  is  a  very  different  greenery  from  that  of  the  Valley  of  the  Tiber  The 

solidity  of  the  painting  and  at  the  same  time  the  transparency  of  the  work  are  truly 
remarkable  in  this  little  titbit  of  a  landscape."  —  T.  Adolphus  Tkollope,  London 
Standard,  February  5,  1874. 

"  He  [Mr.  Tilton]  was  born  on  the  other  side  of  the  Atlantic,  but  he  has  studied  life 
and  nature  in  all  countries,  and  his  paintings  of  Naples  and  Venice,  of  Greece  and 
Egypt,  are  as  well  known  in  Italy,  in  England,  and  all  over  Europe,  as  they  are  in  his 

own  country  He  values  his  picture  not  so  much  as  a  masterpiece  of  landscape 

13* 


298     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


painting,  as  it  is,  but  for  the  importance  it  will  have  in  after  times  as  a  faithful  histori- 
cal memorial  of  Rome  as  it  was,  and  as,  if  he  had  his  way,  it  should  never  cease  to 
be.  Few  men  have,  by  a  quarter  of  a  century  of  loving  familiarity,  made  themselves 
more  minutely  acquainted,  not  only  with  every  inch  of  its  ground,  and  every  stone  of  its 
buildings,  but  what  is  much  more,  with  every  phase,  shade,  and  nuance  of  its  ever- 
changing,  ever-charming  atmosphere.  There  can  be  nothing  more  true,  yet  nothing 
more  exquisitely  got  up,  more  genially  idealized,  than  this  long-meditated  picture  of 
'  Rome  from  the  Aventine.'  "  — London  Times,  January  8,  1878. 

Timbal,  Louis  Charles.  (Fr.)  Born  at  Paris,  about  1822.  Cheva- 
lier of  the  Legion  of  Honor.  Painter  and  art-critic.  Pupil  of  Droll- 
ing. He  sent  his  first  contribution  to  the  Salons  in  1847.  He  has 
painted  a  variety  of  subjects,  and  some  portraits,  but  the  larger  num- 
ber of  his  works  are  religious  subjects.  He  has  also  decorated  a 
chapel  at  St.  Sulpice,  and  executed  a  "  Theology  "  in  the  church  of 
the  Sarbonne.  In  the  Luxembourg  are  his  "  Muse  and  Poet"  (1866) 
and  "  Christ's  Agony  in  the  Garden "  (1867).  Timbal  contributes 
many  articles  to  the  "  Gazette  des  Beaux- Arts."  He  is  a  man  of  for- 
tune, and  art  is  his  passion.  He  has  a  fine  collection  of  Italian  objects 
of  art  of  the  Middle  Ages  and  of  the  Renaissance.    [Died,  1880.] 

"  M.  Timbal  pretends  not  to  occupy  a  considerable  place  in  the  contemporaneous 
school ;  he  holds  the  rank  assigned  to  all  artists  who  are  mindful  of  the  lessons  of  the 
past.  His  admiration  for  the  great  geniuses  whom  he  has  known  and  studied  aids  him 
in  avowing  himself  only  an  imitator  of  these  giants  ;  he  is  their  victim  ;  he  is  resigned 
to  his  fate.  His  important  compositions  in  the  chapel  of  Sain te-Genevi eve  at  Saint-Sulpice 
are  treated  in  the  style  of  the  beautiful  Florentine  frescos  of  the  Brancacci  chapel ;  the 
expressions  are  true,  but  the  movements  seem  suppressed  for  the  sake  of  a  dignity  which 
is  not  in  the  character  of  all  the  personages." — Georges  Berger,  Gazette  des  Beaux- 
Arts,  February,  1876. 

Tissot,  James.  (Fr.)  Born  at  Nantes.  Medal  in  1866.  Pupil 
of  H.  Flandrin  and  L.  Lamothe.  This  artist,  French  by  birth  and 
education,  has  now  so  long  resided  in  England  that  he  has  become  in 
effect  a  man  of  that  country.  His  picture  of  the  "  Meeting  of  Faust 
and  Marguerite  "  (1861)  is  in  the  Luxembourg.  He  exhibited  at  the 
Salon  of  1870  (for  the  last  time),  "  A  Young  Girl  in  a  Boat  "  (belong- 
ing to  Mr.  W.  H.  Stewart)  and  "  Partie  Carree  "  ;  in  1869,  "  A  Widow  " 
and "  Young  Women  examining  some  Japanese  Articles  "  ;  in  1868, 
"  A  Breakfast "  and  "  The  Retreat  in  the  Garden  of  the  Tuileries  "  ; 
in  1867,  "  A  Young  Woman  singing  with  an  Organ"  and  "Confi- 
dence "  ;  in  1866,  "A  Young  Woman  in  Church  "  and  "  The  Confes- 
sional" ;  etc.  At  the  Royal  Academy  Exhibition,  London,  in  1876, 
he  exhibited  "  The  Thames,"  "  A  Convalescent,"  an  etching  of  "  The 
Thames,"  and  another  etching,  "Quarreling"  ;  in  1875,  "A  Bunch 
of  Lilacs"  and  "Hush";  in  1874,  "  London  Visitors,"  "Waiting," 
and  "  The  Ball  on  Shipboard  "  ;  in  1873,  "  The  Captain's  Daughter," 
"  The  Last  Evening,"  and  "Too  Early";  in  1872,  "  An  Interesting 
Story  "  and  "  Les  adieux."  At  the  Walters  Gallery,  Baltimore,  is  a 
"  Marguerite,"  by  Tissot.  "  Faust  and  Marguerite  "  (a  remarkably 
fine  work  of  its  kind)  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of 
Boston. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  299 


"  Tissot  is  the  declared  enemy  of  aerial  perspective,  and  he  has  sworn  that  by  the  force 
of  talent  and  mind  he  will  make  us  forget  that  there  is  an  atmosphere  which  serves  to 
unite  the  tones  of  color,  to  graduate  them  in  their  plane,  and  from  them  to  bring  out 
harmony.  We  will  not  stop  before  the  large  picture,  which  leaves  us  too  much  to  desire 
in  this  direction,  but  we  pass  rather  to  the  two  delicious  portraits  of  comedians. 
There  Tissot,  who  had  but  one  figure  to  paint,  was  obliged  to  renounce  his  monomania, 
and  show  himself  that  which  he  really  is,  a  very  skillful  painter,  and  an  artist  full  of 
spirit."  —  Rene  Menard,  Gazette  des  Beaux-Arts,  June,  1869. 

"  Both  Alma  Tadema  and  Tissot  have  wielded  a  large  influence  on  contemporary  Eng- 
lish art."  —  Benjamin's  Contemporary  Art  in  Europe. 

"  The  pictures  of  Tissot,  Heilbuth,  and  Legros,  hung  side  by  side,  suggest  curious 
contrasts.  The  first  sends  five  pictures,  '  Spring  '  and  *  July,'  full-length  portraits  in 
white,  with  knots  of  pale  yellow  riband,  under  skillfully  managed  reflected  lights  ;  '  Cro- 
quet,' a  graceful  figure  of  a  stripling  girl,  dressed  in  black,  in  a  garden  ;  *  Evening,'  the 
crush  at  the  entrance  to  a  West-end  soiree,  with  a  young  lady  in  a  daring  '  arrangement,' 
in  which  yellow  predominates  in  head-gear,  fan,  and  dress,  all  of  the  most  pronounced 
fashion  of  modern  millinery,  a  figure  worthy  of  Worth  ;  and  a  '  Study,'  of  which  only  a 
pretty  simple  head  is  finished.  It  is  impossible  to  conceive  art  less  unsophisticated,  less 
in  contact  with  nature,  as  far  as  its  subject-matter  goes,  than  Tissot's.  But  it  would  be  dif- 
ficult to  find  in  any  contemporary  painter's  work  more  artistic  thought  and  resource  than 
have  been  lavished  on  these  unsophisticated  subjects.  It  is  art  brought  to  the  doors 
and  laid  at  the  feet  of  the  monde,  if  not  sometimes  of  the  demi-monde,  with  an  almost 
cynical  sincerity.  Thus  far  it  is  French  rather  than  English,  alike  in  the  ideas  it  suggests 
and  the  skill  it  shows. "  —  London  Times,  May  2,  1878. 

Tite,  Sir  William.  (Brit.)  (1802  -  1873.)  He  studied  architec- 
ture under  Laing,  and  was  very  prominent  in  his  profession.  He  fur- 
nished plans  for  many  fine  "buildings  in  London  and  elsewhere  in 
Great  Britain,  the  best  known,  perhaps,  being  the  Royal  Exchange  in 
the  metropolis.  In  1862  he  was  elected  President  of  the  Institute  of 
British  Architects,  and  was  knighted  by  the  Queen  in  1869.  He  was 
a  member  of  Parliament  for  upwards  of  twenty  years. 

Tolles,  Sophie  Mapes.  (Am.)  Native  of  the  city  of  New  York. 
Began  the  study  of  art  in  Philadelphia,  in  1864,  under  P.  F.  Rother- 
mel.  She  was  some  time  in  the  schools  of  the  National  Academy 
and  of  the  Cooper  Institute,  New  York,  where  she  received  two  med- 
als. Spending  two  years  in  Paris,  she  was  a  pupil  of  E.  Luminais, 
painting  and  copying  in  that  city  and  in  Italy.  She  first  exhibited 
at  the  National  Academy,  in  1876,  a  portrait  ;  in  1877,  she  exhibited 
"  The  Cottage  Door,"  and  several  flower-pieces  ;  in  1878,  "  In  Me- 
moriam."  Among  her  portraits  is  one  of  Linda  Gilbert  of  Chicago. 
For  several  years  she  has  been  Vice-President  of  the  Ladies'  Art  As- 
sociation. 

Tompkins,  Clementina  M.  G.  (Am.)  A  native  of  Washington, 
D.  C.  She  has  lived  for  some  time  in  Paris,  studying  in  the  National 
Schools  of  Design  there,  and  under  Bonnat.  Her  specialty  is  por- 
traits and  figure-pieces.  She  exhibited  at  the  Salon  in  Brussels  in 
1872,  and  has  contributed  regularly  to  the  Paris  Salons  since  1873. 
To  Philadelphia  in  1876  she  sent  "The  Little  Musician,"  for  which 
she  received  a  medal ;  to  the  Paris  Exposition  of  1878,  "  The  Little 
Artist "  and  "Rosa,  la  fileuse." 


300     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Topham,  Francis  William.  (Brit.)  Born  in  Leeds  (1808- 1877). 
He  began  life  as  an  engraver  in  his  native  city,  removing  to  London 
about  1830.  Shortly  after  joining  the  Institute  of  Painters  in  Water- 
Colors,  he  devoted  himself  to  painting  Spanish,  Welsh,  and  Irish 
peasant  life  with  marked  success.  Leaving  the  Institute,  he  became 
an  active  member  of  the  Society  of  Painters  in  Water-Colors,  con- 
tributing, among  other  sketches,  "  Irish  Courtship,"  "Welsh  Cabin," 
"  Spanish  Gypsies,"  "  Beading  the  Bible,"  etc.  Among  his  later 
works  are,  "  Preparing  for  the  Fight "  and  "  Waiting  by  the  Stile," 
exhibited  in  1872  ;  "  The  Bird's-Nest "  and  "  Listening  to  the  Love- 
Letter,"  in  1873  (sent  to  Philadelphia  in  1876)  ;  "  Wayfarers  "  and 
"A  Welsh  Stream,"  in  1875;  and  after  his  death,  in  1877,  "Black- 
berry-Gatherers "  and  "  Haymaking."  Two  of  his  works,  "  Venetian 
Water- Carriers  "  and  "  The  Eve  of  the  Festa,"  were  at  the  Paris  Ex- 
position of  1878.    His  death  occurred  in  Spain. 

Topham,  Francis  W.  W.  (Brit.)  Born  in  London,  1838.  Son 
of  Francis  W.  Topham,  from  whom  he  received  his  first  instruction 
in  art,  studying  later  at  the  schools  of  the  Boyal  Academy.  He  has 
lived  and  painted  in  Italy  and  France,  and  is  at  present  a  resident  of 
the  suburbs  of  London.  He  exhibits  frequently  at  the  Boyal  Acad- 
emy, the  Society  of  British  Artists,  etc.  Among  his  more  important 
works  are,  "  Belies  of  Pompeii,"  "  The  Fall  of  Bienzi,  the  last  Bo- 
man  Tribune/'  "  Drawing  for  Military  Service,  Modern  Italy  "  (B.  A., 
1878),  "Befugees  from  Pompeii,"  etc. 

His  "  Fall  of  Bienzi  "  was  at  the  Philadelphia  Exhibition  of  1876. 
"  The  Winged  Pensioners  of  Assisi,"  at  Paris,  in  1878. 

"  The  cloister  of  Assisi  has  been  carefully  and  literally  studied  in  all  but  what  is 

singular  or  beautiful  in  it  But  there  is  more  conscientious  treatment  of  the  rest 

of  the  building,  and  greater  quietness  of  natural  light,  than  in  most  picture  backgrounds 
of  these  days  ['  The  Sacking  of  Assisi  by  the  Perugians  in  1442  *]."  —  Ruskin's  Notes  of 
the  Academy,  1875. 

Torelli,  Lot.  (Ital.)  Sculptor  of  Florence.  At  Philadelphia  he 
exhibited  "  Eva  St.  Clair  "  ("  Uncle  Tom's  Cabin")  and  "A  Good 
Housekeeper,"  and  received  a  medal.    At  the  London  Academy  in 

1876  he  exhibited  a  statuette  in  terra-cotta,  "  Fidelity,"  and  "  The 

Love-Message." 

Toudouze,  Edouard.  (Fr.)  Born  at  Paris.  Prix  de  Rome,  1871. 
Medals,  1876  and  '77.    Pupil  of  Pils  and  A.  Leloir.    At  the  Salon  of 

1877  he  exhibited  "The  Wife  of  Lot";  in  1876,  "  Clytemnestra,  — 
the  Murder  of  Agamemnon";  in  1878,  a  portrait  and  "  The  Beach  at 
Yport." 

Toulmouche,  Auguste.  (Ft.)  Born  at  Nantes.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Gleyre.  The  works  of  this  artist  are 
well  known.  They  are  usually  interiors,  with  Parisian  women  of  our 
day.  He  holds  a  high  place  among  painters  of  these  subjects.  At 
the  Salon  of  1876  he  exhibited  "Flirtation"  and  "  Summer";  in  1874, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  301 


"  The  Serious  Book  "  (a  very  pleasing  picture)  and  "  The  Response." 
At  the  Latham  sale,  New  York,  1878,  "Why  don't  he  come?"  (26 
by  20)  sold  for  $950.  His  "  Waiting"  belongs  to  Mr.  S.  Hawk  of 
New  York. 

Tournemine,  Charles  Emile  Vacher  de.  (Fr.)  Born  at 
Toulon  (1814-1872).  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
Eugene  Isabey.  At  the  Luxembourg  is  his  "  Elephants  of  Africa  " 
(1861).  Many  of  his  pictures  are  of  hunting-scenes,  others  of  land- 
scapes, and  some  illustrative  of  the  customs  of  Eastern  countries 
which  he  had  visited. 

Trautmann,  Karl  Friedrich.  (Ger.)  Born  at  Breslau  (1804- 
1875).  Studied  at  Berlin  Academy.  His  small  wood-scenes  and 
groups  of  trees  are  very  agreeable  pictures.  He  was  also  a  lithog- 
rapher.   At  the  National  Gallery,  Berlin,  is  "  The  Oak  Wood." 

Trigt,  H.  A.  Van.  (Dutch.)  Of  Hilversum.  Medal  at  Philadel- 
phia, where  he  exhibited  "  Norwegian  Women  bringing  Children  to 
be  baptized."  This  picture  is  specially  commended  by  Mr.  John  F. 
Weir  in  his  report. 

Triqueti,  Henri  de.  (Fr.)  Born  at  Conflans  (1804-1874).  This 
artist  was  a  pupil  of  Hersent.  He  made  his  debut  at  the  Salon  of 
1831  with  four  pictures,  and  .to  the  same  Salon  he  sent  also  a  sculp- 
tured group  of  the  "  Death  of  Charles  le  Temeraire,"  the  success  of 
which  decided  him  to  devote  himself  to  sculpture.  This  work  and 
some  others  led  Thiers,  then  Minister  of  the  Interior,  to  give  him  the 
commission  for  the  doors  of  the  Madeleine.  One  of  his  most  speaking 
works  is  the  "  Resurrection  of  Lazarus,"  made  for  the  tomb  of  the 
only  son  of  the  artist,  who  was  killed  by  an  accident  in  1861.  Laza- 
rus has  the  face  of  the  son.  Triqueti  received  from  Queen  Victoria 
the  order  for  the  complete  ornamentation  of  the  chapel  at  Windsor, 
and  the  construction  of  the  tomb  of  Prince  Albert,  which  is  there. 
Here  he  has  employed  both  painting  and  sculpture.  It  is  an  immense 
work,  and  any  proper  description  of  it  would  demand  more  space  than 
we  can  here  give.  Triqueti  was  also  a  writer  on  art  matters.  Among 
his  writings  is  a  volume  called  "  Les  Trois  Musees  de  Londres." 

Trotter,  Newbold  H.  (Am.)  A  resident  of  Philadelphia.  He 
devotes  himself  to  pictures  of  animal  life.  His  "  On  the  Hills  "  and 
"Resting"  were  at  the  National  Academy  in  1874;  his  "Quiet 
Nook"  and  "  California  Valley  Quail,"  in  1875.  To  the  Centennial 
Exhibition  of  1876  he  sent  "  Wounded  Buffalo  pursued  by  Prairie 
Wolves." 

[No  response  to  circular.] 

"  Trotter's  '  They  know  not  the  Voice  of  the  Stranger '  [Phil.  Acad.  1873]  is  a  valu- 
able specimen  of  animal  painting  His '  Fading  Race,'  a  herd  of  buffalo  speeding 

towards  the  setting  sun,  is  poetical  in  conception,  and  both  in  matter  and  manner  is 
much  the  best  work  the  artist  has  produced  in  a  long  time.*'  —  Art  Journal,  June, 
1877. 

Troyon,  Constant.    (Fr.)    Born  at  Sevres  (1810  -  1865).  Chev- 


302     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


alier  of  the  Legion  of  Honor,  and  member  of  the  Academy  of  Amster- 
dam. His  parents  wished  him  to  be  a  painter  of  porcelain,  but  after 
a  time  spent  in  the  manufactory  at  Sevres  he  studied  under  Riocreux, 
and  became  a  painter  of  landscapes  and  animals.  He  was  a  hard 
worker,  and  determined  to  overcome  the  difficulties  of  his  art.  He 
cannot  be  positively  called  a  literal  painter,  but  he  painted  very  little 
that  was  not  apparent  to  an  uneducated  eye,  and  his  representation 
of  animals  was  the  truth  of  nature,  interpreted  in  a  large  sense  and 
with  freedom  of  touch.  He  seldom  worked  continuously  on  one  sub- 
ject, but  kept  a  large  number  of  pictures  in  progress  at  the  same  time. 
He  traveled  much  in  his  own  country,  and  made  a  journey  to  Hol- 
land, in  which  country,  as  well  as  in  Belgium  and  England,  his  works 
were  much  admired.  After  his  death,  in  the  Exposition  of  1867,  the 
following  pictures  were  exhibited,  "A  Landscape  with  Animals" 
(afterwards  given  to  the  Museum  of  the  Luxembourg  by  the  mother 
of  Troyon),  "  Scotch  Dogs,"  "  A  Dog  and  a  Partridge,"  "  A  White 
Cow  in  a  Field,"  and  "  A  Seashore."  Troyon  first  sent  pictures  to  the 
Salon  in  1833  ;  he  received  medals  in  1838,  '40,  '46,  '48,  and  '55  ;  he 
was  decorated  in  1849.  Among  his  principal  works  are,  "  The  Ferry- 
Boat"  ;  "Oxen  going  to  Work"  (1853),  for  which  the  city  of 
Bordeaux  paid  4,000  francs  in  1860;  "The  Valley  of  the  Toque 
in  Normandy"  (1853)  ;  views  of  Sevres,  Saint-Cloud,  Argenton,  and 
the  environs  of  Vannes,  of  The  Hague,  and  of  Amsterdam  ;  etc.  Many 
of  his  works  have  been  engraved,  such  as  "The  Bathers,"  "The 
Poacher,"  "  The  Watering- Place,"  and  some  of  the  pictures  men- 
tioned above,  etc.  At  the  Laurent-Richard  sale,  Paris,  1873,  "  The 
Ford"  sold  for  £2,480  ;  "A  Shepherd  and  his  Flock,"  for  £1,668  ; 
« Cows,  —  Sunset,"  for  £1,082;  "The  Return  of  the  Flock,"  for 
£1,020.  At  the  Johnston  sale  of  pictures,  in  1876,  the  "  Autumn 
Morning,  —  Landscape  and  Cattle"  (28  by  42)  was  sold  for  $9,700, 
and  a  pastel,  "  Roadside  Cottage  "  (12  by  15),  brought  $  110.  At  the 
Norzy  sale,  Paris,  1860,  "Cows  in  a  Pasture,  —  Effect  of  a  Storm" 
brought  3,000  francs.  In  Paris,  in  1874,  the  "  Plaine  de  la  Toque, 
Normandie,"  sold  for  £  1,840. 

"  He  had,  however,  a  more  poetical  mind  than  any  other  artist  of  the  same  class,  and 
the  poetry  of  the  fields  has  never  been  more  feelingly  interpreted  than  by  him.  In  the 
'  Oxen  going  to  Work  *  we  have  a  page  of  rustic  description  as  good  as  anything  in  litera- 
ture, —  of  fresh  and  misty  morning  air,  of  rough,  illimitable  land,  of  mighty  oxen  march- 
ing slowly  to  their  toil !  Who  that  has  seen  these  creatures  work  can  be  indifferent  to 
the  steadfast  grandeur  of  their  nature  ?  they  have  no  petulance,  no  hurry,  no  nervous 
excitability  ;  but  they  will  bear  the  yoke  upon  their  necks,  and  the  thongs  about  their 
horns,  and  push  forward  without  flinching  from  sunrise  until  dusk  ! "  —  Hamerton's 
Contemporary  French  Painters. 

"  A  mise  en  scene,  picturesque,  and  often  with  a  rare  magnificence  of  effect ;  a  color, 
sober,  fine,  distinguished,  unfolding  itself  in  sweet  harmonies  ;  a  bold  and  original  mod- 
eling, a  quick  instinct  for  light,  the  magic  of  shaded  or  radiant  horizons,  —these  are  the 
attractive  charms,  the  exceptionable  qualities,  which  assure  this  artist  an  eternal  place 
among  the  masters  of  the  genre."  —  Larousse,  Bictionnaire  Universel. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  303 


Triibner,  Wilhelm.  (Ger.)  Born  at  Heidelberg,  1852.  Pupil  of 
the  Academy  of  Munich,  of  Dietz,  and,  later,  of  the  great  portrait- 
painter,  Canon,  at  Stuttgart.  In  the  spring  of  1878  this  young  artist 
exhibited  at  Munich  a  full-length  portrait  which  excited  immense 
interest,  and  he  is  now  engaged  upon  several  other  portraits,  which, 
it  is  said  by  other  artists,  will  give  him  a  great  reputation. 

Trumbull,  Gurdon.  (Am.)  Born  at  Stonington,  Ct.,  1841. 
Youngest  son  of  Hon.  Gurdon  Trumbull.  He  studied  art  under  F.  S. 
Jewett  of  Hartford,  Ct.,  and  for  a  sbort  time  under  James  Hart  of 
New  York.  His  professional  life  has  been  spent  in  Hartford.  Among 
the  better  known  of  his  works  are,  "  A  Moorish  Watch-Tower,  Coast 
of  Spain"  and  "A  Critical  Moment,"  a  trout  picture  (both  belonging 
to  William  C.  Prime  of  New  York).  Hon.  Charles  M.  Pond,  Dr.  E.  K. 
Hunt  of  Hartford,  Ct.,  and  others,  own  his  pictures  of  fish.  His 
"  Plunge  for  Life  "  and  "  Over  the  Falls,"  exhibited  at  Snedecor's 
Gallery,  New  York,  in  1874,  have  been  chromoed,  and  are  very  pop- 
ular. The  "  Critical  Moment "  was  at  the  Centennial  Exhibition  at 
Philadelphia  in  1876. 

"Mr.  Trumbull's  standing  as  an  artist  was  long  since  assured  by  works  of  this  class 
['  The  Plunge  for  Life  '  and  '  Over  the  Falls '].  His  work  is  distinguished  for  a  somewhat 
uncommon  union  of  characters,  namely,  accurate  and  finished  detail  joined  to  complete 
action  and  life  in  the  whole  picture.  Viewed  at  a  distance,  his  fish  are  living  and  moving, 
full  of  reality,  while,  as  they  are  approached  and  examined,  even  with  the  aid  of  a 
glass,  they  are  found  to  be  minutely  accurate  in  the  rendering  of  even  the  texture  of 
skin  and  the  arrangement  of  scales."  —  New  York  Sun,  March  19,  1874. 

"  The  two  pictures  represent  a  trout  and  a  black  bass.  The  trout  has  the  hook,  has 
made  his  mad  rush,  has  snapped  the  frail  tackle,  and  is  'over  the  falls '  with  a  plunge 
and  a  swirl,  and  you  see  him  flash  through  the  green  water.  ....  This  work  shows  the 
most  astounding  care,  all  those  delicate,  soft,  pink  points  on  the  trout's  side  imitate 
nature,  and  the  wondrous  delicate  gossamer  fins  absolutely  undulate.  The  bass  is  quite 
as  surprising  as  a  picture.  It  is  not  only  as  a  work  of  art  that  it  is  admirable  ;  it  has 
the  merit  of  being  a  perfect  ichthyological  study."  —Forest  and  Stream,  March  26, 1874. 

Try  on,  Benjamin  F.  (Am.)  Born  in  New  York  City,  1824. 
Pupil  of  Eichard  Bengough  and  James  H.  Cafferty.  His  subjects  are 
landscapes,  and  his  works  are  in  galleries  in  Boston  (where  he  now 
resides)  and  other  cities.  He  has  exhibited  at  the  Boston  Art  Club 
exhibitions,  and  at  the  Academy  of  Design  in  New  York,  since  1866. 
His  "  New  England  Scenery "  was  at  the  Mechanics'  Fair,  Boston, 
1878.  Among  his  works  are  "  River  St.  Lawrence  near  the  Thousand 
Islands,"  "  Early  Autumn  Afternoon,"  "  Conway  Valley  and  Moat 
Mountain,"  "  A  Quiet  Nook,"  etc.  His  "  View  of  San  Miguel  Falls, 
San  Juan  Mountains,"  exhibited  in  Boston  in  November,  1878,  excels 
his  former  work,  and  has  been  the  means  of  attracting  attention  to 
this  artist. 

T'Schaggeny,  Charles  Fhilogene.  (Belgian.)  Born  at  Brussels, 
1815.  Chevalier  of  the  Order  of  Leopold.  Pupil  of  Eugene  Verboeck- 
hoven.  His  pictures  represent  animals  and  landscapes.  At  the 
Latham  sale,  New  York,  1878,  "  Rest  at  a  Blacksmith's  Shop"  (30  by 


304     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


44)  sold  for  $800.  To  the  Exposition  at  Paris,  in  1878,  he  sent 
"  Before  the  Storm." 

T'Schaggeny,  Edmond.  (Belgian.)  Born  at  Brussels  (1818- 
1873).  Chevalier  of  the  Order  of  Leopold.  Brother  of  the  preceding, 
and  pupil  of  the  same  master.  He  has  also  chosen  similar  subjects 
for  his  pictures.  At  the  Leipsic  Museum  there  is  a  "  Resting  Herd  " 
painted  by  him.  At  the  Latham  sale,  a  water-color,  the  "  Shepherdess 
and  Flock  "  (20  by  30)  brought  $  275.  At  the  Khalil  Bey  sale,  1868, 
"  Shepherd  and  Sheep  "  brought  £  268,  and  in  London,  in  1872,  a  pair, 
"  Returning  to  the  Fold  "  and  "  Repose  of  the  Flock,"  brought  232 
guineas. 

Tuckerman,  S.  S.  (Am.)  A  native  of  Massachusetts.  He  paints 
marine  views  and  landscapes,  and  studied  under  Hunt  in  Boston. 
He  has  also  studied  in  Paris.  At  present  (1884)  he  is  a  resident  of 
the  Hague.  In  1876  a  collection  of  some  forty  of  his  works,  chiefly 
autumnal  views,  and  scenes  of  North  Easton  and  Newburyport,  Mass., 
was  on  exhibition  in  Boston,  where  many  of  them  are  owned.  To 
Philadelphia,  the  same  year,  he  sent  "  Beach  at  Hastings  "  and  "  The 
United  States  Frigate  Constitution  escaping  from  the  British  Fleet 
in  1812." 

Turcan,  Jean.  (Fr.)  Born  at  Aries.  Pupil  of  Cavelier.  Medal 
of  the  second  class  in  1878,  when  he  exhibited  "  Ganymede,"  a  group 
in  plaster. 

Turner,  Joseph  M.  W.,  R.  A.  (Brit.)  (1775  -  1851.)  Displayed 
artistic  talents  at  an  early  age,  exhibiting  at  the  Royal  Academy,  in 
1787,  two  drawings.  In  1788  he  was  in  the  office  of  an  architect 
in  London,  entering  the  Royal  Academy  schools  in  1789,  subsequently 
making  sketching-tours  along  the  banks  of  the  Thames,  in  Wales,  and 
the  North  of  England.  He  confined  himself  for  a  few  years  to  water- 
color  sketches,  which  were  sent  annually  to  the  Academy.  "  Moon- 
light, —  a  Study  at  Millbank,"  was  his  first  oil-painting  at  the  Royal 
Academy  in  1797.  His  "  Battle  of  the  Nile  "  appeared  in  1799.  He 
was  elected  an  Associate  of  the  Royal  Academy  in  1800,  Academician 
in  1802.  In  1807  he  was  elected  Professor  of  Perspective.  He  vis- 
ited Italy  three  times.  He  had  no  family,  and  left  his  pictures  to  the 
nation.  Over  a  hundred  of  his  paintings,  and  as  many  sketches  and 
drawings,  are  in  the  National  Gallery,  London,  dating  from  1790  to 
1850.  Of  all  the  artists  of  the  nineteenth  century,  Turner  was  per- 
haps the  most  remarkable,  and  of  no  artist  in  any  age  has  more  been 
written.  There  is  no  space  here  for  enumeration  of  his  works,  or 
further  account  of  his  career,  with  which  so  many  volumes  have  been 
filled.  His  pictures  now  command  fabulous  prices.  His  "  Ant- 
werp, —  Van  Goyen  looking  for  a  subject,"  painted  in  1833,  was 
sold  in  London,  in  1863,  for  2,510  guineas  ($13,000),  its  original 
price  to  the  artist  being  perhaps  less  than  one  tenth  of  that  sum  ; 
some  of  his  drawings  at  the  same  sale  bringing  $  2,500  to  $  3,000. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  305 


His  "  Slave  Ship  "  (36  by  48),  exhibited  at  the  Royal  Academy  in 
1840,  and  purchased  by  John  Taylor  Johnston  from  Mr.  Ruskin, 
was  sold  in  1876  for  $  10,000,  to  Miss  Alice  Hooper  of  Boston.  One 
hundred  and  five  of  his  drawings  and  pictures,  at  a  sale  in  London, 
April,  1878,  brought  over  £  73,000,  or  $  365,000.  Turner's  "  Dolbad- 
den  Castle,  North  Wales,"  lent  by  the  Royal  Academy  of  London, 
was  in  the  Philadelphia  Exhibition  of  1876. 

"  I  believe  if  I  were  reduced  to  rest  Turner's  immortality  upon  any  single  work,  I 
should  choose  '  The  Slave  Ship. '  Its  daring  conception,  ideal  m  the  highest  sense  of  the 
word,  is  based  on  the  purest  truth,  and  wrought  out  with  the  concentrated  knowledge 
of  a  life.  Its  color  is  absolutely  perfect,  not  one  false  or  morbid  hue  in  any  part  or  line, 
and  so  modulated  that  every  square  inch  of  canvas  is  a  perfect  composition  ;  its  drawing 
as  accurate  as  fearless ;  the  ship  buoyant,  bending,  and  full  of  motion ;  its  tones  as 
true  as  they  are  wonderful ;  and  the  whole  picture  dedicated  to  the  most  sublime  of  sub- 
jects and  impressions  (completing  thus  the  perfect  system  of  all  truth,  which  we  have 
shown  to  be  formed  by  Turner's  works),  —  the  power,  majesty,  and  deathfulness  of  the 
open,  deep,  illimitable  sea."  —  Ruskin's  Modern  Painters. 

"Thackeray,  when  speaking  of  'The  Slave  Ship'  by  the  same  amazing  artist,  says, 
with  delightful  naivete,  'I  don't  know  whether  it  is  sublime  or  ridiculous.'" — Dr. 
Brown's  Spare  Hours. 

"  Turner  had  three  styles  as  a  landscape-painter  ;  the  first  was  highly  elaborated,  es- 
pecially in  his  water-color  drawings.  The  contrast  of  style  between  his  early  and 
latest  works  is  remarkable  ;  in  the  best  of  his  early  works  he  shows  a  strong  imitation 
of  Wilson  and  a  certain  coldness  of  color  ;  the  latest  are  distinguished  for  their  exces- 
sive looseness  of  execution  and  extravagance  of  coloring.    It  is  in  his  middle  style  that 

he  is  greatest,  that  he  is  himself.   The  middle  period  may  date  from  1802  to  1832  

In  the  last  ten  years  of  his  career  and  occasionally  before,  Turner  was  extravagant  to  an 
extreme  degree  ;  he  played  equally  with  nature  and  with  his  colors.  Light  with  all  its 
prismatic  varieties  seems  to  have  been  the  chief  object  of  his  studies  ;  individuality  of 
form  or  color  he  was  wholly  indifferent  to.  The  looseness  of  execution  in  his  latest 
works  has  not  even  the  apology  of  having  been  attempted  on  scientific  principles ;  he 
did  not  work  upon  a  particular  point  of  a  picture  as  a  focus  and  leave  the  rest  obscure, 
as  a  foil  to  enhance  it,  on  a  principle  of  unity ;  on  the  contrary,  all  is  equally  obscure 
and  wild  alike.  These  last  productions  are  a  calamity  to  his  reputation  ;  yet  we  may, 
perhaps,  safely  assert  that,  since  Rembrandt,  there  has  been  no  painter  of  such  origi- 
nality and  power  as  Turner."  — Wornum's  Epochs  of  Painting. 

"  No  landscape-painter  has  yet  appeared  with  such  versatility  of  talent.  His  histor- 
ical landscapes  exhibit  the  most  exquisite  feeling  for  beauty  of  hues  and  effect  of  light- 
ing, at  the  same  time  that  he  has  the  power  of  making  them  express  the  most  varied 

moods  of  nature  I  should  therefore  not  hesitate  to  recognize  Turner  as  the  greatest 

landscape-painter  of  all  times,  but  for  his  deficiency  in  an  indispensable  element  in  every 
work  of  art,  viz.  a  sound  technical  basis."  — Dr.  Waagen,  Treasury  of  Art  in  Great 
Britain. 

"  Turner's  great  genius  needs  no  panegyric  ;  his  best  monument  is  the  great  works 
bequeathed  by  him  to  the  nation,  which  will  be  ever  the  most  lasting  memorial  of  his 
fame."  —  Smiles'  Self-Help. 

"That  day  [May  5,1812],  I  saw  at  the  Exhibition  a  picture  by  Turner,  the  impres- 
sion of  which  still  remains  [written  in  1849].  It  seemed  to  me  the  most  marvelous 
landscape  I  had  ever  seen,  '  Hannibal  crossing  the  Alps  in  a  Storm.'  I  can  never  forget 
it."  —  Diary  of  Henry  Crabbe  Robinson. 

"  I  must  request  you  to  turn  your  attention  to  a  noble  river-piece  by  Turner, '  The  Fight- 
ing Temeraire,'  as  grand  a  painting  as  ever  figured  on  the  walls  of  any  academy,  or 

came  from  the  easel  of  any  painter  It  is  absurd,  you  will  say  (and  with  a  great 

T 


306     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


deal  of  reason)  for  Titmarsh  or  any  other  Briton  to  grow  so  politically  enthusiastic  about 
a  four-foot  canvas  representing  a  ship,  a  steamer,  a  river,  and  a  sunset.  But  herein 
surely  lies  the  power  of  the  great  artist.  He  makes  you  see  and  think  of  a  great  deal 
more  than  the  objects  before  you  ;  he  knows  how  to  soothe  or  to  intoxicate,  to  fire  or  to 
depress,  by  a  few  notes,  or  forms,  or  colors,  of  which  we  cannot  trace  the  effect  to  the 
source,  but  only  acknowledge  the  power."  —  Thackeray,  in  Fraser's  Magazine,  1839. 

"  The  influence  of  Turner  upon  engraving  might  supply  the  subject  for  a  separate 
essay.  He  educated  a  whole  school  of  engravers,  and  a  very  remarkable  school  it  was  ; 
he  educated  them  first  by  showing  them  the  more  subtle  and  delicate  tonality  in  his 
pictures,  and  afterwards  by  a  strict  supervision  of  their  work  as  it  proceeded.  His  best 
qualities  as  a  teacher  came  from  his  union  of  extreme  delicacy  with  force  :  his  worst 
fault,  his  most  evil  influence,  came  from  his  reckless  desire  for  brilliance,  which  made 
him  always  ready  to  destroy  the  tranquillity  of  a  plate  if  he  thought  that  it  did  not 
look  effective  enough.  This  was  the  same  spirit  acting  in  another  direction  which  made 
him  so  determined  to  make  his  pictures  brilliant  at  all  costs,  on  the  walls  of  the  Acad- 
emy ;  but  there  he  could  achieve  it  with  the  help  of  chrome,  and  cobalt,  and  vermilion. 
On  a  dull  plate  he  had  no  resource  but  that  of  glittering  lights,  which  he  scattered  in 
profusion  '  like  stars  on  the  sea.'  "  —  P.  G.  Hamerton,  in  the  Portfolio,  March,  1878. 

"  The  following  opinion,  expressed  by  an  intelligent  and  accomplished  American 
artist,  Mr.  George  Inness,  is  interesting  for  its  frankness  :  '  Turner's  "Slave  Ship"  is 
the  most  infernal  piece  of  claptrap  ever  painted.  There  is  nothing  in  it.  It  has  as  much 
to  do  with  human  affections  and  thought  as  a  ghost.  It  is  not  even  a  fine  bouquet  of 
color.  The  color  is  harsh,  disagreeable,  and  discordant'  This  is  severe,  and  I  think  its 
severity  is  partly  due  to  reaction  against  Mr.  Ruskin's  eloquent  praises.  On  the  other 
hand,  I  have  observed  that  some  Americans  seem  to  think  it  a  sort  of  duty  to  admire 
Turner,  and  to  become  enthusiastic  about  even  his  least  important  works.  May  I  ven- 
ture to  observe,  both  to  American  and  English  readers,  that  nobody  is  under  any  obliga- 
tion to  admire  either  the  late  or  the  early  works  of  Turner  ;  that  they  are  as  much  open 
to  criticism  as  those  of  any  other  artist,  and  that  the  best  way  to  judge  them  fairly  is  to 
look  at  them  as  if  they  had  never  been  either  praised  or  censured.  The  warm  contro- 
versy at  Boston  about  the  '  Slave  Ship '  was  caused  by  a  feeling  of  rebellion  in  some 
minds,  too  independent  to  accept  dictation  from  an  English  critic,  whilst  others  de- 
fended the  picture  as  the  work  of  a  man  of  genius  who  had  been  roughly  treated  by  the 
press.  An  antagonism  of  this  description  is  good  for  the  fame  of  an  artist,  because  it 
makes  everybody  talk  about  him,  but  truth  disengages  itself  only  when  the  noise  has 
ceased  and  the  smoke  of  battle  has  passed  away.  It  is  not  of  the  least  use  to  argue 
about  color.  From  Mr.  Ruskin  the  color  of  the  '  Slave  Ship '  calls  forth  no  harsher 
criticism  than  that  he  thinks  'the  two  blue  and  white  stripes  on  the  drifting  flag  of  the 
"  Slave  Ship  "  in  the  last  degree  too  purely  cold,'  and  he  elsewhere  expressly  approves 
of  its  strongest  passages.  It  is  one  of  those  compositions  in  which  Turner  used  the  most 
brilliant  of  all  his  pigments.  A  lurid  splendor  was  his  purpose,  and  he  hesitated  at 
nothing  for  its  attainment.  It  is  hardly  possible  for  any  painter  to  deal  with  vermilion 
and  lemon  yellow,  in  any  quantity,  without  falling  into  some  degree  of  crudity.  If  you 
compare  even  the  'Temeraire'  with  the  rich,  deep  harmonies  of  Titian  and  Giorgione 
you  will  feel  it  to  be  relatively  crude.    But  are  fiery  sunsets  never  to  be  painted  ? 

"  Form  may  be  argued  about  more  positively.  The  wave-forms  in  the  slaver  are 
original,  but  they  are,  I  believe,  carefully  observed.  The  comparatively  flat,  or  simply 
swelling  space,  between  the  ridges  of  broken  sea  I  have  often  seen  in  nature,  and  the 
sudden  leaping  of  the  spray  is  no  doubt  also  a  reminiscence.  The  introduction  of  the 
sharks,  manacles,  and  human  hand  and  leg  was  artistically  awkward  to  manage,  and  is 
so  horrible  that  the  mind  revolts  from  these  details.  The  thoroughness  of  study  in  the 
sky  may  be  judged  of  by  the  rain-cloud  engraved  from  it  by  Mr.  Armitage  under  the 
title,  'The  Locks  of  Typhon.'  Our  sense  of  the  delicacy  of  this  piece  of  work  may  be 
heightened  by  the  exquisiteness  of  the  engraver's  performance  ;  but  the  painter  must 
have  worked  delicately  also."  —  P.  G.  Hamerton,  The  Portfolio,  1878. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  307 


Turner,  William  Green.  {Am.)  Born  at  Newport,  R.  L,  1833. 
He  went  abroad  for  the  purpose  of  studying  sculpture,  and  was  for 
some  time  a  pupil  of  the  Academy  of  Fine  Arts  in  Florence,  spend- 
ing, his  professional  life  there  and  in  other  Italian  cities.  He  is  a 
member  of  two  of  the  Florentine  Art  Societies.  Among  his  works 
may  be  mentioned,  "  Transition  "  ("  There  is  no  death  ;  what  seems 
so  is  transition."  Longfellow),  which  was  exhibited  at  the  Centen- 
nial at  Philadelphia  in  1876,  and  is  now  in  charge  or  possession  of 
Mr.  Sartain  of  the  Philadelphia  Academy  of  Fine  Arts  ;  with  two 
medallions,  "  Night"  and  "Morning."  His  "Fisherman's  Daughter," 
also  at  the  Centennial  Exhibition,  was  purchased  by  Mr.  Wolverton, 
and  is  now  in  his  collection  at  Philadelphia.  In  his  studio  (1878) 
are,  "  Rhoda,"  "  The  Herald  of  Peace  "  (an  allegory  to  be  cast  in 
bronze),  and  "  Sabrina  "  from  "  Comus  "  (still  in  clay). 

"  A  most  splendid  figure,  half  life-size,  now  adorns  Mr.  Turner's  studio  ;  it  represents 
'  Rhoda '  when  she  ran  in  and  told  how  '  Peter  stood  before  the  Gate.'  His 'Night' 
and  '  Morning '  (medallion  busts),  and  his  '  Incredulity  '  and  '  Herald  of  Peace,'  all  give 
evidence  of  the  original  genius  of  the  artist.  His  compositions  show  great  originality, 
and  are  more  distinguished  for  largeness  and  simplicity  of  masses  than  for  secondary 
matters  of  fine  detail."  —  Swiss  Times,  December,  1876. 

Twachtman,  J.  H.  (Am.)  Born  in  Cincinnati,  1853.  He  began 
his  art  studies  in  the  School  of  Design  in  Cincinnati,  and  spent  the 
winter  of  1874  and  '75  in  Duveneck's  Life  School  and  Painting  Class 
in  the  same  city.  He  went  to  Europe  in  the  fall  of  1875,  entering  the 
Art  School  at  Munich,  where  his  professional  life  so  far  has  been  spent. 
He  is  a  member  of  the  American  Art  Club  of  Munich,  and  exhibited 
for  the  first  time  in  New  York  with  the  Society  of  American  Artists, 
in  1878,  two  "  Italian  Scenes." 

Ulivi,  Pietro.  (Jtal.)  Born  at  Pistoia,  1806.  Professor  in  the 
Royal  Lyceum,  Forteguerra.  He  won  many  prizes  in  various  cities 
of  Italy.  His  portraits  are  celebrated  for  their  fine  coloring.  Many 
of  his  best  works  are  in  his  native  city.  His  correctness  in  drawing 
is  remarkable.  Victor  Emmanuel  II.  bought  his  picture  of  a  "  Father 
blessing  his  Son,  who  goes  forth  to  be  a  Soldier."  Ulivi  was  chosen 
to  copy,  for  engraving,  the  frieze  around  the  Hospital  of  Pistoia,  con- 
taining the  bassi-relievi  of  the  Delia  Robbia. 

Ulmann,  Benjamin.  (Fr.)  (1829  -  1884.)  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Drolling  and  Picot.  This  artist  paints 
many  portraits.  Among  his  other  works  are,  "  Remorse,"  "  The 
Gitanos  of  Granada,"  "  The  Bell-Ringers  of  Nuremberg,"  etc.  At 
the  Luxembourg  is  his  picture  of  "  Sylla  at  the  House  of  Marius " 
(1866).    To  the  Paris  Salon  of  1878  he  sent "  The  Lnrlei." 

Unger,  Wilhelm.  (Ger.)  Born  at  Hanover,  1837.  Professor  at 
Vienna.  Pupil  of  Keller  and  Thater.  Medal  at  Philadelphia,  where 
he  exhibited  the  following  etchings  :  "  Marine  View,"  after  Van 
der  Capella  ;  "  Portrait,"  after  Velasquez  ;  "  Portrait,"  after  Palma 


308     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Vecchio  ;  "  Landscape,"  after  Hobbema  ;  "  Jacob's  Blessing,"  after 
Govaert  Flinck  ;  "  Catherine  Cornaro,"  after  Hans  Makart  ;  "  Katrina 
Fourment,"  after  Rubens.  Unger  is  one  of  the  best  living  etchers, 
and  his  works  are  much  sought  for  illustrations  of  books  of  luxury, 
etc.  To  the  Paris  Exposition,  1878,  he  sent  "  La  ronde  de  nuit,"  aftei 
Rembrandt  ;  a  portrait  of  Rembrandt,  after  his  own  picture  ;  and 
other  etchings  after  Rubens,  Snyclers,  and  other  ancient  masters. 

Ussi,  Commander  Stefano.  (Ital)  Born  at  Florence,  1822. 
Medal  at  Paris,  1867,  and  at  Vienna  in  1873.  Professor  of  Fine  Arts 
at  Florence.  Pupil  of  Pollastrini,  and  a  painter  of  the  first  rank. 
"  The  Expulsion  of  the  Duke  of  Athens,"  an  early  work,  won  much 
fame  for  the  artist,  and  gained  the  gold  medal  at  the  Paris  Exposition 
in  1867.  It  is  now  in  the  Gallery  of  Modern  Paintings  in  Florence. 
He  went  up  the  Nile,  and  brought  back  many  valuable  sketches.  His 
"Departure  of  a  Caravan  for  Mecca  "  was  a  commission  from  the 
Khedive  of  Egypt,  who  declared  that  the  picture  merited  a  frame  of 
gold.  It  was  much  noticed  at  Vienna  in  1873.  One  of  his  latest 
works  is  a  fine  painting  of  the  "  Last  Day  of  Bianco  Capello."  His 
portrait  is  in  the  collection  of  autograph  portraits  in  the  Uffizi.  To 
Paris  in  1878  he  sent  "  Bianca  Capello  at  Poggio  a  Cajano  attempts  to 
poison  the  Cardinal  de'Medici,"  and  two  Eastern  scenes. 

Uwins,  Thomas,  R.  A.  (Brit.)  Born  in  London  (1782-1857). 
He  began  life  as  an  engraver,  entering  the  schools  of  the  Royal  Acad- 
emy. Later,  he  devoted  himself  to  oil  and  water-color  painting.  He 
painted  portraits  for  some  time  in  Scotland  and  on  the  Continent.  As 
early  as  1811  he  was  Secretary  of  the  Society  of  Painters  in  Water- 
Colors,  contributing  to  its  exhibitions  for  many  years.  He  was  elected 
Associate  of  the  Royal  Academy  in  1833,  on  the  strength  of  his  "In- 
terior of  a  Saint  Manufactory  at  Naples."  He  was  made  Academi- 
cian in  1839.  He  was  Keeper  of  the  National  Gallery  from  1847  to 
755,  and  for  some  time  Librarian  of  the  Royal  Academy.  Among 
the  more  important  of  his  many  works  are,  "  Taking  the  Veil,"  "  Vint- 
age in  the  Claret  Vineyards,  South  of  France,"  "  Le  Chapeau  de 
Brigand,"  and  "  Sir  Guy  on  fighting  for  Temperance  "  (the  last  three 
in  the  National  Gallery).  Uwins,  during  his  long  career,  exhibited,  in 
all,  one  hundred  and  two  pictures  at  the  Royal  Academy.  Many  of 
his  works  have  been  engraved. 

"Among  the  many  artists  either  already  eminent  or  rising  to  eminence,  who  made  the 
acquaintance  of  Lady  Blessington  in  Italy,  was  Mr.  Uwins,  the  painter,  who  already 
[1824]  had  acquired  celebrity  by  several  works  in  which  the  glowing  scenery  and  pictu- 
resque inhabitants  of  Rome  and  Naples  were  delineated,  in  a  style  of  the  highest  excel- 
lence." —  Memoirs  of  the  Countess  of  Blessington. 

Vaini,  Pietro.  (Ital.-Am.)  Born  in  Rome  (1847  -  1875).  Stud- 
ied and  practiced  art  in  Italy.  In  1872  he  settled  in  New  York, 
where  he  painted  portraits  of  a  number  of  prominent  people  with  con- 
siderable success.    His  large  figure-pictures  attracted  much  attention 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  309 


when  exhibited,  on  account  of  the  morbidly  somber  nature  of  the  sub- 
jects, and  the  vivid,  and  sometimes  horrible,  realism  of  his  treatment 
of  them.  His  "  Othello  and  the  Handkerchief "  (property  of  the  Pal- 
ette Club),  his  "  First  Grief,"  "  After  the  War,"  and  "  Veronica  gazing 
Upon  the  Face  of  her  Dead  Rival,"  will  not  be  quickly  forgotten  by  those 
who  saw  them.  These  did  not  meet  with  ready  sale  in  this  country. 
His  smaller  ideal  works,  pleasanter  in  style,  and  generally  pictures 
of  fashionable  life,  were  more  popular.  His  death  was  startling  and 
dramatic.  While  entertaining  a  party  of  friends  at  a  picnic  by  the 
recitation  of  a  tragic  poem  in  his  native  language,  he  illustrated  the 
narrative  by  taking  his  own  life  as  described  by  the  poet. 

"  As  a  colorist  Vaini  had  no  superior  in  this  country,  and  his  style  was  fully  in  accord 
with  that  of  the  famous  school  in  which  he  was  educated.  He  was  an  indefatigable 
worker,  and  left  a  rare  collection  of  studies  as  well  as  finished  pictures." — Art  Journal, 
October,  1875. 

Valerio,  Theodore.  (Fr.)  Born  at  Herserange,  1819.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Chaiiet  at  Paris.  This 
painter  is  remarked  for  his  water-colors  and  etchings.  Several  of 
his  pictures  show  the  customs  of  the  Montenegrins,  Tsiganes,  Hun- 
garians, etc.  At  the  Salon  of  1876  he  exhibited  "  The  Beach  at  Tres- 
malouen  in  a  Storm"  and  "  Women  near  Carnac  "  ;  in  1875,  "  A  Well 
of  Sweet  Water,  near  Carnac,"  "  The  Departure  for  the  Fields," 
"  Saint  Colombau,"  and  a  "  Souvenir  of  the  Rocks  of  Kermarie  at 
Low  Tide."    [Died,  1879.] 

Vallance,  W.  F.  (Brit.)  Born  in  Paisley.  Went  to  Edinburgh 
in  his  youth,  studying  from  the  antique  under  Robert  Scott  Lauder, 
and,  later,  passing  through  the  Life  School  of  the  Royal  Scottish 
Academy.  He  first  exhibited  small  figure-pieces,  subsequently  turn- 
ing his  attention  to  marine  views.  He  is  a  resident  of  Edinburgh, 
and  was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1875. 
Among  his  works  are,  "  Sunday  Morning,"  "  Leisure  Hours,"  "  Loch 
Fine,"  "  Largo  Bay,"  "A  Fresh  Breeze,"  etc.    [R.  S.  A.,  1881.] 

Valles,  Lorenzo.  (Span.)  Of  Madrid.  Medal  at  Philadelphia, 
where  he  exhibited  the  "  Insanity  of  Donna  Juana  de  Castille." 

Van  Elten,  Kruseman.,  N.  A.  (Dutch-Am.)  Born  in  Alkmaar, 
Holland,  1829.  Chevalier  of  the  Order  of  the  Lion,  of  the  Nether- 
lands. Member  of  the  Academies  of  Amsterdam  and  Rotterdam, 
and  of  the  Belgian  Water-Color  Society  ;  Associate  of  the  National 
Academy,  New  York  ;  and  Member  of  the  American  Society  of 
Painters  in  Water-Colors.  Medals  at  Amsterdam  in  1860,  and  at 
Philadelphia  in  1876.  He  was  instructed  in  drawing  in  his  native 
town,  and  in  1844  went  to  Haarlem  and  studied  painting  under 
C.  Lieste  and  other  masters.  His  professional  life  has  been  spent  in 
Haarlem,  Amsterdam,  Brussels,  and  New  York,  and  he  has  made 
sketches  in  Germany,  Austria,  Switzerland,  France,  and  England. 

To  the  National  Academy,  New  York  (in  oil),  Van  Elten  has  con- 


310     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tributed  many  pictures  :  "  Summer  Morning,  Esopus  Creek,"  in  1867  ; 
"Druidical  Tombs,  Holland,"  in  1869;  "Peace"  and  "War/'  in 
1870  ;  "  Morning  in  the  Harz,"  in  1871  ;  "  Passing  Shower  near 
Pittsfield,  Mass.,"  in  1875  ;  "  Cornfields,"  in  1876  ;  "Landscape,  Dela- 
ware," in  1877;  "  Summer  Day,  Winnockie  River,  N.  J.,"  in  1878.  To 
the  Water-Color  Society  Exhibition,  in  1867,  he  sent  "  Sunday  Morn- 
ing in  Holland"  ;  in  1871,  "  Meadows  near  Farmington"  ;  in  1875, 
"Evening,  Long  Island  Sound  in  1876,  "  Landscape  in  Holland  "  ;  in 
1877,  "  Landscape  near  Torresdale,  Pa.,"  "Chickens,"  and  "  Ducks  "  ; 
in  1878,  "Home,  Sweet  Home, —  Scene  in  Holland,"  "  Morning  near 
Gloucester,  Mass.,"  and  others.  To  the  Centennial  Exhibition  of 
1876  he  sent,  "Clearing  Off,  Adirondacks,"  "The  Grove  in  the 
Heath,"  "  Russell's  Falls,  Adirondacks  "  (in  oil),  and  "  Autumn  in  the 
White  Mountains  "  (in  water-colors). 

Among  his  earlier  works  may  be  mentioned,  "  Early  Morning  in 
the  Woods"  (belonging  to  the  Queen  of  Holland),  "Sunday  Morn- 
ing," "  Interior  of  the  Woods,"  "  Landscape  in  Gelderland "  (in 
private  collections  in  Haarlem  and  Amsterdam).  His  "  Well  in  the 
Heath  "  belongs  to  Jay  Cook  of  Philadelphia.    [N.  A.,  1883.] 

"  To  the  earnest  student  of  landscape  art  Mr.  Van  Elten's  pictures  furnish  an  agree- 
able surprise  ;  their  originality  of  treatment  raises  them  above  the  common  art  level,  and 
their  boldness  and  vigor  of  coloring  are  not  reflected  in  the  works  of  any  of  his  contem- 
poraries. In  his  pictures  Van  Elten  rarely  composes  ;  he  selects  his  studies  with  the 
idea  of  making  pictures,  and  hence  when  finished  they  are  perfect  and  truthful  portraits 
of  the  scenes  they  purport  to  represent  There  is  a  calm  sweetness  about  this  pic- 
ture ['  Landscape  on  the  Farmington  River  '],  a  depth  of  perspective,  and  conscientious 
elaboration  of  detail  which  will  be  appreciated  by  all  lovers  of  the  beautiful.  In  its 
composition  it  shows  an  harmonious  tone  which  is  in  keeping  with  the  scene  in  Nature." 
—  Art  Journal,  November,  1877. 

Van  Hove,  Victor.  (Belgian.)  Born  at  Renaix,  1825.  Medals 
at  Paris  for  sculpture  and  painting.  Of  later  years  this  artist  seems 
to  have  abandoned  sculpture,  and  paints  genre  landscapes  ;  such  as, 
"  Fishermen's  Daughters  of  the  Coasts  of  Flanders,"  "  Orphans  going 
to  Church,  near  Dordrecht,"  etc.  His  sculptures  of  the  "  Child  play- 
ing with  a  Cat "  and  "  A  Slave  after  the  Bastinado  "  were  exhibited 
in  Paris,  and  were  well  received. 

Van  Lerius,  Joseph  Henri  Francois.  (Dutch.)  Born  at  Boom, 
near  Antwerp  (1823  -  1876).  Professor  of  Painting  in  the  Academy  of 
Antwerp.  Honorary  Member  of  the  Academies  of  Rotterdam,  Amster- 
dam, and  Saxony.  Chevalier  of  the  Order  of  Leopold.  Pupil  of  the 
Academy  of  Brussels,  schools  of  Antwerp,  and  of  Baron  Wappers.  At 
first  Van  Lerius  painted  portraits/in  which  department  he  was  success- 
ful. His  first  subject-picture  was  "An  Interview  between  Leicester 
and  Amy  Robsart,"  followed  by  "  Milton  dictating  to  his  Daughter"  and 
"  Paul  and  Virginia  crossing  the  Stream,"  which  last  was  in  the  collec- 
tion of  the  Baroness  Voykerstoot  at  Brussels.  Among  his  later  works 
are,  "Esmeralda"  (1848),  in  the  Brussels  Museum  ;  "Adam  and  Eve  " 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  311 


(1848)  ;  "  The  Four  Ages  "  ;  "  The  First-Born,"  bought  by  Queen  Vic- 
toria ;  "  Volupte  et  Denouement "  (1857),  bought  by  Prince  Saxe- 
Coburg  of  Gotha;  "Cinderella";  "The  Golden  Age";  Joan  of 
Arc"  ;  "Venice"  ;  "  Portrait  of  a  Swedish  Girl"  ;  etc.  In  1877  the 
city  of  Antwerp  bought  the  "Lady  Godiva"  for  18,000  francs.  At 
the  International  Exposition  at  Munich,  in  1869,  he  exhibited  a  melo- 
dramatic work  called  "  Plutot  mourir "  ;  it  represented  a  young  girl 
throwing  herself  from  a  window  in  order  to  escape  dishonor. 

Van  Luppen,  G.  J.  A.  (Belgian.)  Of  Antwerp.  Medal  at  Phil- 
adelphia, where  he  exhibited  "  After  the  Rain "  and  "  Before  the 
Storm."  To  Paris,  in  1878,  he  sent  the  last-named  picture  and  "  La 
Flandre." 

Van  Marcke,  Emile.  (Fr.)  Born  at  Sevres.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Troyon.  At  the  Salon  of  1877  he  exhib- 
ited, "  The  Spring  at  Neslette,  in  Normandy,"  belonging  to  Mr. 
Brown  of  Philadelphia;  in  1876,  "The  Cliff"  ;  in  1875,  "The  Vil- 
lage Pasture,  Normandy,"  "The  River  Morte  at  Treport,"  and  "A 
Bridge  on  the  Bresles,  Normandy."  At  the  Johnston  sale,  New  York, 
1876,  "A  Herd  of  French  Cattle"  (38  by  59)  sold  for  $5,100,  and 
"Landscape  with  Cattle"  (14  by  21)  for  $2,550.  At  the  Walters 
Gallery  is  a  large  picture  of  cattle  by  Van  Marcke  ;  and  a  fine  picture 
by  the  same  artist  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Bos- 
ton. 

Vannutelli,  Cavaliere  Scipione.  (Ital.)  Born  at  Rome,  where 
he  resides.  Medals  at  Paris  in  1864  and  '67.  At  the  Paris  Exposi- 
tion of  1878  he  exhibited  "  The  Monferrina"  (an  Italian  dance)  and 
"  The  Night."  At  the  Salon  of  the  same  year  were  "The  Roman 
Campagna"  and  "An  Agreeable  Reading"  ;  in  1877,  "A  Procession 
at  Venice  "  ;  etc.  [This  artist  merits  a  more  extended  notice,  but  no 
reliable  information  could  be  obtained.] 

Varley,  John.  (Brit.)  (1778-1842.)  One  of  the  early  English 
artists  in  water-colors,  and  a  founder  of  the  Old  Water-Color  Society, 
in  1805.  He  painted  many  views  in  Wales  and  the  valley  of  the 
Thames,  and  was  the  author  of  several  text-books  on  drawing,  some 
of  which  are  still  in  use.  Among  his  works  are,  "Holy  Island," 
"  Rochester  Castle,"  "  A  Quiet  Stream,"  "  Old  Inn  on  the  Banks  of  the 
Thames,"  "  Conway  Castle,"  etc. 

Varley,  Cornelius.  (Brit.)  Born  in  London  (1781  -  1873). 
Brother  of  John  Varley.  Artist  in  water- colors,  devoting  himself 
chiefly  to  Welsh  and  English  landscapes  and  classical  scenes.  He 
was  one  of  the  original  members  of  the  Society  of  Painters  in  Water- 
Colors. 

Varley,  William  Fleetwood.  (Brit.)  (1785  - 1856.)  Younger 
brother  of  Cornelius  and  John  Varley,  studying  under  the  latter. 
He  painted  landscapes  in  water-colors,  teaching  drawing  at  Oxford 
for  some  years  before  his  death. 


312      ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Varni,  Santo.  (Ital.)  Born  at  Genoa.  He  is  one  of  the  first  sculp- 
tors of  the  day,  and  one  of  whom  Genoa  is  justly  proud.  His  work 
is  chiefly  monumental.  For  Staglieno  he  made  the  fine  monument  of 
Marchese  Donghi,  with  statues  of  "  Prudence,"  "  Eternity,"  and  "  Faith 
in  God."  At  the  same  place,  also,  is  the  monument  to  Marchese.  Lo- 
mellini,  with  a  beautiful  statue  of  "  Grief,"  a  monument  to  Dufour,  with 
a  sleeping  figure,  and  a  very  grand  monument  for  the  Cattanei  family, 
with  a  seated  figure  of  the  Saviour,  and  the  figures  of  St.  J ohn  the 
Baptist  and  St.  Matthew  below.  In  Santa  Croce  in  Florence  is  a  mon- 
ument to  Giovanni  Rossini,  and  in  Pisa  one  to  Luigi  Canina.  In  the 
Hospital  of  Genoa  are  the  statues  of  Merani  and  Tignago,  by  Varni, 
and  the  monument  to  Columbus  begun  by  Pampaloni  in  Genoa  was 
finished  by  this  sculptor.  The  statues  of  Pagano  Doria  and  Vittorio 
Pisani  in  Venice,  and  Emmanuel  Fileberto  in  the  Royal  Palace  in 
Turin,  are  by  Varni. 

Vasselot,  Anatole  Marquet  de.  (Fr.)  Born  at  Paris,  1840. 
Medals  in  1873  and  '76.  Pupil  of  Jouffroy  and  Bonnat.  This  sculptor 
was  intended  for  a  diplomatic  career  by  his  family,  but  his  tastes  so 
controlled  him  that  at  length  he  separated  himself  from  all  former 
surroundings,  and  after  many  difficulties  made  his  debut  at  the  Salon 
of  1866.  His  bust  of  Balzac  (1870)  ornaments  the  grand  staircase  of  the 
Comedie-Francaise,  and  is  a  truly  fine  work.  In  1868  he  made  a  good 
medallion  portrait  of  Abraham  Lincoln.  His  best  work  is  the  "  Chloe" 
of  1869.  In  1873  it  was  put  in  marble,  and  wTas  medaled  and  bought 
by  the  government.  His  "  Christ  in  the  Tomb,"  in  bronze  (1876),  re- 
ceived a  second  medal.  His  "  Patrie"  (1874)  was  purchased  for  the 
court  of  the  palace  of  the  Grande  Chancellerie  of  the  Legion  of  Honor. 
In  1875  he  exhibited  a  bas-relief  called  "  Honor  to  our  Dead  I "  and 
in  1876,  a  "  Theseus,"  also  bought  by  the  State.  His  portrait  busts 
are  excellent.  This  sculptor  has  received  many  medals  and  testimo- 
nials of  honor  in  various  cities  of  France,  at  Brussels,  and  at  Phila- 
delphia, where  he  exhibited  a  portrait  of  Monsieur  Auzoux,  and  a 
figure  of  "  Chloe,"  both  in  bronze.  At  the  London  Academy,  in  1875, 
he  exhibited  "  Chloe,"  in  marble,  and  "  Mile.  Sombreuil,"  and  in  1878, 
at  the  Paris  Salon,  a  statue  of  the  "  Young  Greek  Athlete  "  and  a 
bust  in  bronze  of  Rose-Anais. 

Vaudremer,  Joseph- Auguste-Emile.  (Fr.)  Born  at  Paris,  1829. 
Chevalier  of  the  Legion  of  Honor.  This  architect  gained  the  prix  de 
Rome  in  1854.  He  has  held  various  offices  in  Paris,  and  has  been  as- 
sociated with  important  works  there  since  1859.  He  has  also  con- 
structed some  civil  and  funereal  monuments,  and  has  sent  to  the 
Salons  very  remarkable  architectural  drawings. 

Vaureal,  Henri  de.  (Fr.)  Born  at  Paris.  Pupil  of  Toussaint. 
Medal  of  third  class  in  1878,  when  he  exhibited  a  plaster  statue  of 
"  Perseus  "  ;  in  1877,  he  sent  a  bronze  statue,  "  The  Little  Gleaner  "  ; 
in  1876,  a  "  Portrait  of  a  Child  "  (a  bust  in  bronze). 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  313 


Vautier,  Benjamin.  (Swiss.)  Born  at  Morges,  1830.  Member  of 
the  Academies  of  Berlin,  Munich,  Antwerp,  and  Amsterdam.  Medals 
at  Berlin  and  Paris.  Pupil  of  Rudolph  Jordan  at  Diisseldorf.  Painter 
of  scenes  from  peasant  home-life.  His  "  First  Dancing-Lesson  "  (vil- 
lage of  the  Black  Forest)  is  in  the  National  Gallery,  Berlin  ;  "  A 
Courtier  and  Peasants  of  Wurtemberg,"  in  the  Museum  of  Bale  ; 
"  After  the  Burial "  (canton  of  Berne),  in  the  Museum  of  Cologne. 
At  the  Johnston  sale,  New  York,  in  1876,  "  The  Music-Lesson  "  (11 
by  8)  sold  for  $  360.  At  the  Walters  Gallery  is  his  "  Consulting  his 
Lawyer,"  well  painted  and  full  of  humor  ;  also,  "  Caught  in  the  Act." 

"  The  scenes  which  he  places  before  us  are  never  superficially  treated ;  he  never  expects 
us  to  he  satisfied  with  the  costumes  in  place  of  the  characters  of  the  people  he  repre- 
sents ;  on  the  contrary,  his  figures,  in  their  faces  and  in  every  line  of  detail,  express  their 

peculiar  individualities  with  marked  force  The  wine-merchant  on  the  Rhine  differs 

from  the  beer-merchant  in  Bavaria,  and  the  Spieszbiirger  of  a  Westphalian  middle  city, 
who  is  happily  placed  between  beer  and  wine,  is  again  a  different  person.  Vautier  has 
so  well  hit  this  characteristic  trait-painting,  that  he  proves  himself  not  only  to  have 
studied  closely,  but  he  has  given  rein  to  a  natural  genius  for  such  conceptions.  More- 
over, he  has  a  full  vein  of  humor  which  is  all  his  own,  but  he  only  gives  way  to  this  when 
it  accords  with  the  subject  he  represents.  He  is  not  one  of  those  who,  by  reason  of 
vanity,  add  to  their  representation  their  own  conceits,  like  some  actors  who  in  side  play 
act  their  own  farces  ;  but  he  is  a  true  interpreter  of  the  poet  whom  he  represents.  Just 
this  beautiful  moderation  brings  out  the  meaning  of  the  composition  as  if  in  a  concen- 
trated light,  so  that  the  delight  of  originating  and  that  of  showing  forth  the  intention 
must  almost  be  united  in  one  emotion."  —  W.  L.,  Zeitschrift  fur  bildende  Kunst,  1866. 

Vedder,  Elihu,  N.  A.  (Am.)  Born  in  New  York,  1836.  As 
a  child  he  showed  decided  talent  for  art,  studying  for  a  short 
time  in  his  native  city.  Later,  he  became  a  pupil  of  T.  H.  Mat- 
teson  at  Sherbourne,  N.  Y.  After  some  years  spent  in  Italy  he 
opened  a  studio  in  New  York,  but  is  at  present  a  resident  of  Rome. 
He  was  elected  a  full  Member  of  the  National  Academy  of  Design  in 
1865.  Among  Yedder's  earlier  works  are,  "  The  Lair  of  the  Sea-Ser- 
pent,"  "  The  Monk  upon  the  Gloomy  Path,"  "  Arab  listening  to  the 
Great  Sphinx,"  "  The  Crucifixion,"  and  "  The  Lost  Mind  "  (belonging 
to  Mrs.  Laura  Curtis  Bullard).  He  sent  to  the  National  Academy,  in 
1869,  "The  Death  of  Abel"  ;  in  1871,  "An  Ideal  Head"  ;  in  1874, 
"  A  Scene  on  the  Mediterranean  "  and  "  Une  fete  champetre."  He 
rarely  exhibits,  however,  in  America.  His  "  Greek  Actor's  Daughter  " 
was  at  Philadelphia  in  1876  ;  his  "Old  Madonna  "  (belonging  to  E.  D. 
Morgan),  "  Cumean  Sibyl,"  and  "  Young  Marsyas  "  were  at  the  Paris 
Exposition  of  1878.  Martin  Brimmer  owns  his  "Genii."  "A  Pas- 
toral "  (belonging  to  E.  B.  Haskell)  was  at  the  Mechanics'  Fair,  Bos- 
ton, in  1878. 

"  Vigor  and  independence  in  Vedder  are  allied  to  great  ambition  and  general  aesthetic 
instinct.  While  in  Italy  he  manifested  a  keen  appreciation  of  the  best  elements  of  its  old 
art.  A  clever,  indefatigable  student,  he  never  became  a  mere  copyist,  but,  making  notes 
of  ideas  and  technical  details,  assimilated  to  himself  much  of  the  lofty  feeling  and  strong 

manner  of  the  world's  masters  in  painting  Vedder  is  a  painter  of  ideas.    His  style 

is  naturalistic  as  relates  to  truth  of  illustration,  but  ideal  and  intellectual  in  motive.  If 
VOL.  II.  14 


314     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


he  were  not  so  drawn  to  painting  by  delight  of  color,  he  could  be  eminent  as  a  sculptor. 
That  he  would  be  the  most  original  and  inventive  of  our  school,  the  dramatic  force  of 
expression  and  power  of  modeling  shown  in  his  recent  bas-reliefs  of  the  '  Arab  Slave '  and 
'  Endymion  '  sufficiently  attest."  —  Jarves,  Art  Idea,  1866. 

"  Vedder  is  one  of  the  most  original  of  the  American  painters  in  Rome,  distinguished 
especially  for  his  quaintness,  alike  in  his  subjects  and  in  their  treatment."  —  Mrs.  Tyt- 
ler's  Modem  Painters. 

"  Mr.  Vedder  sent  his  '  Greek  Actor's  Daughter,'  a  thoughtful  and  poetic  conception, 
painted  with  rare  feeling  and  learning."  —  Prof.  Weir's  Official  Report  of  the  American 
Centennial  Exhibition  of 1876. 

Veit,  Philip.  (Ger.)  Born  at  Berlin  (1793  -  1878).  This  painter 
belonged  to  the  school  of  Cornelius  and  Overbeck.  His  mother  was 
the  daughter  of  Mendelssohn,  and  the  wife  of  Friedrich  Schlegel. 
Veit  was  a  devout  Roman  Catholic.  At  the  National  Gallery,  Berlin, 
is  his  picture  of  the  "Three  Maries."  His  allegorical  picture  of 
"  Germany,"  represented  as  a  young  matron,  and  his  portraits  of  the 
Emperors  of  the  Middle  Ages  made  him  much  reputation. 

Vela,  Vincenzo.  (Ital.)  Born  at  Ligurnetto,  in  the  Swiss 
canton  of  Tessin,  1822.  Officer  of  the  Legion  of  Honor.  Son  of 
poor  peasants,  he  worked  as  a  boy  in  quarries,  and  when  fourteen 
went  to  Milan,  where  he  was  employed  in  the  restoration  of  the 
Cathedral.  His  brother,  who  had  become  a  sculptor,  placed  him  in 
the  studio  of  Cacciatori.  He  was  often  forced  to  work  by  night  upon 
jewelers' models,  in  order  to  save  himself  from  starvation.  In  1848 
he  obtained  a  prize  at  Venice  for  his  "  Christ  raising  the  Daughter 
of  Jairus."  In  1847  he  went  to  Rome,  but  was  called  suddenly  away 
to  serve  in  the  army.  He  was  also  a  volunteer  in  the  Italian  army 
in  1848.  His  earlier  works  are,  "  Prayer,"  "  Spartacus,"  for  which  he 
received  a  medal  at  Paris  in  1855  (bought  by  the  Duke  Antonio 
Litta),  and  some  busts.  He  was  elected  member  of  the  Academy  of 
Milan,  but  declined  the  honor.  In  1855  he  executed  "  Harmony  in 
Tears,"  for  the  tomb  of  Donizetti.  In  1863  he  exhibited  a  group, 
"  France  and  Italy,"  given  by  the  ladies  of  Milan  to  the  French  Em- 
press. His  "  Last  Days  of  Napoleon,"  much  remarked  at  the  Exposi- 
tion of  1867,  was  purchased  by  Napoleon  III.  in  the  name  of  the 
French  people.  A  replica  was  sold  at  the  Johnston  sale,  New  York, 
for  $  8,100,  and  is  now  at  the  Corcoran  Gallery,  Washington.  His 
"  Christopher  Columbus,"  "  America,"  and  "  Springtime  "  are  much 
admired.  In  1873  he  was  commissioned  by  the  Town  Council  of 
Geneva  to  execute  the  monument  to  the  Duke  of  Brunswick,  after 
the  model  of  the  Tomb  of  the  Scaligers  at  Verona. 

Vely,  Anatole.  (Fr.)  Born  at  Ronsoy.  Medal  in  1874.  Pupil 
of  Signol.  At  the  Paris  Salon  of  1876  he  exhibited  the  "First 
Step"  and  a  portrait;  in  1875,  "Meditation"  ;  in  1874,  "Lucia  di 
Lammermoor."  At  the  Corcoran  Art  Gallery,  Washington,  is  his 
"  Talking  Well."    The  catalogue  says  :  — 

"This  charming  picture  is  by  one  of  the  leading  figure-painters  of  France.  The 
maiden  is  a  model  of  rustic  grace,  and  the  coloring  throughout  is  harmonious.    Its  sen- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  315 


timent  is  delicately  expressed.  The  'talk'  may  come  from  the  well,  but  it  is  evident, 
from  the  arch  glance  and  smile  of  the  maiden,  that  she  suspects  the  whisper  to  be  some- 
what human."    [He  died  in  1882.] 

Vera,  Alejo.  (Spanish.)  Medal  at  Philadelphia,  where  he  exhib- 
ited <£  The  Burial  of  San  Lorenzo  at  Rome."  Vera  is  one  of  the 
artists  who  have  made  the  art  of  Spain  known  with  favor  in  present 
times,  and  in  the  report  upon  the  Fine  Arts  of  the  Philadelphia 
Exposition  this  picture  is  especially  commended. 

Verboeckhoven,  Eugene  Joseph.  (Belgian).  Born  at  Warne- 
ton  (1799).  Chevalier  of  the  Legion  of  Honor,  of  the  Orders  of 
Leopold  of  Belgium  and  Michael  of  Bavaria  and  Christ  of  Portugal, 
and  decorated  with  the  Iron  Cross.  Member  of  the  Academies  of 
Belgium,  Antwerp,  and  St.  Petersburg.  This  artist  devoted  himself  to 
the  painting  of  animals,  and  his  works  are  so  well  known  in  America 
as  well  as  Europe  that  they  need  no  description  or  praise.  They  are 
in  many  private  galleries.  At  the  Johnston  sale,  New  York,  1876, 
"  Flemish  Landscape  and  Cattle  w  (23  by  28)  sold  for  $  875.  At  the 
Latham  sale,  New  York,  1878,  "  A  Frightened  Bull "  was  purchased 
by  J.  J.  Astor  for  $  1,500,  and  "  Sheep  and  Twin  Lambs,  Scotch 
Highlands  "  (44  by  34)  for  $  3,400.  This  artist  has  made  some  por- 
traits worthy  of  mention,  and  has  also  essayed  sculpture.  His  statue 
of  "  Meditation "  was  far  above  most  first  attempts,  and  possessed  a 
good  degree  of  merit.  A  fine  picture  of  "  Sheep,  —  Interior  "  is  in  the 
collection  of  Mrs.  H.  E.  Maynard  of  Boston.  To  the  Paris  Exposi- 
tion in  1878  he  contributed  seven  characteristic  works.   [Died,  1880.] 

Verboeckhoven,  Charles-Louis.  (Belgian.)  Born  at  Warneton, 
1802.  Medals  at  Brussels.  Brother  and  pupil  of  Eugene.  This 
painter  at  first  essayed  animal  subjects,  but  soon  gave  them  up  for 
marines,  in  which  he  has  a  reputable  name.     [Died,  1884.] 

Verhas,  Jan.  (Belgian.)  Born  at  Termonde.  Medal  at  Philadel- 
phia, where  he  exhibited  a  "  Seashore  at  Blankenberghe."  In  Paris, 
in  1877,  were  "  The  Inundation  "  and  "  The  Studio  "  ;  in  1878,  "  The 
Master  Painter  "  and  "  The  Bouquet  of  Marguerites." 

Verheyden,  Isidor.  (Belgian.)  Of  Brussels.  Medal  at  Philadel- 
phia, where  he  exhibited  "  A  Landscape." 

Verlat,  Charles.  (Belgian)  Born  at  Antwerp,  1824.  Professor 
at  the  Antwerp  Academy.  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  the  Antwerp  Academy  and  of  Mcaise  de  Keyser.  He  has  painted 
a  great  variety  of  subjects,  but  his  animal  pictures  are  the  best.  His 
"  Storming  of  Jerusalem  "  is  in  the  Museum  at  Brussels.  Some  of 
his  pictures  have  a  comic  vein,  such  as  "  Might  is  Right,"  in  which  a 
big  monkey  takes  a  nut  from  the  jaws  of  a  little  monkey.  Some  of  his 
portraits  are  good  ;  among  them,  those  of  Frederick  Preller  and  the 
Grand  Duchess  of  Saxe- Weimar.  At  Paris,  in  1869,  he  exhibited  "A 
Dog  at  Bay"  ;  in  1868,  "A  Holy  Family"  and  "A  Day  of  Mourn- 
ing "  ;  in  1866,  "  A  Rabbit-Hunt."    Among  his  works  are,  "  The 


316     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Wolf- Hunt,"  "  Mourning  over  the  Body  of  Christ,"  "  Madonna  with 
Christ  and  John,"  "  Shepherd  Girl  with  her  Flock,"  "  Dogs  waiting 
for  the  Start,"  "  The  First  Snow,"  "  Quarreling  over  the  Booty," 
"  Buffaloes  attacked  by  a  Tiger,"  "  Renard  in  Hope,"  and  "  Renard 
Deceived."  Verlat  has  also  executed  some  admirable  etchings  ;  his 
versatility  and  his  certainty  and  celerity  of  touch  are  remarkable. 

"As  a  painter  of  sheep  and  shepherd-dogs,  Verlat  is  altogether  without  a  superior, 
even  in  Belgium,  where  Verboeckhoven  has  enjoyed  a  great  reputation  for  many  years." 
William  B.  Scott,  Gems  of  Modern,  Belgian  Art. 

Vernet,  Emile-Jean-Horace.  (Fr.)  Born  in  the  Louvre  (1789- 
1863).  Member  of  the  Institute,  1826.  Director  of  the  French 
Academy  at  Rome,  1828.  Grand  Officer  of  the  Legion  of  Honor.  At 
fifteen  years  of  age  this  artist  was  able  to  support  himself  by  the  sale 
of  his  drawings.  He  studied  with  Vincent,  and  sketched  from  the 
living  model.  At  his  father's  desire  he  contended  for  the  prix  de 
Rome,  but  failed.  He  then  painted  his  first  military  subject,  "  The 
Taking  of  a  Redoubt,"  and  afterwards  devoted  himself  to  that  class  of 
pictures.  At  twenty  years  of  age  he  was  married,  and  soon  began  to 
keep  an  account  of  receipts  and  expenditures,  by  means  of  which  may 
be  traced  the  gradual  increase  of  his  prices,  from  that  of  24  sous  for  a 
sketch  of  a  tulip  up  to  50,000  francs  for  the  portrait  of  the  Empress 
of  Russia.  In  1814  Vernet,  with  his  father  and  Gericault,  fought  on 
the  Barriere  de  Clichy,  and  for  his  gallant  conduct  there  the  Em- 
peror gave  him,  with  his  own  hand,  the  decoration  of  the  Legion  of 
Honor.  In  1812  he  had  received  commissions  from  the  King  of 
Westphalia,  and,  in  1813,  from  Maria  Louisa.  In  1817  his-"  Battle 
of  Torlosa"  was  much  praised.  This  was  the  beginning  of  his  tri- 
umphs ;  the  picture  was  purchased  for  the  Maison  du  Roi  for  6,000 
francs.  He  now  desired  to  secure  Royal  commissions,  but  his  political 
record  had  not  been  pleasing  to  the  Bourbons,  and  after  many  expe- 
riences, the  nature  of  which  we  have  not  space  to  relate,  he  became 
the  protege  of  the  Duke  of  Orleans.  In  1817  he  painted  a  portrait 
of  the  Duke  for  which  he  received  3,000  francs  ;  he  repeated  this  por- 
trait in  various  costumes  and  characters,  besides  making  other  pic- 
tures for  his  patrons.  Naturally  those  who  made  the  little  court  of 
Orleans  also  became  his  patrons,  and  at  this  period  he  executed  some 
fine  works.  At  the  Salon  of  1819  he  exhibited  sixteen  or  more  pic- 
tures ;  it  was  the  year  when  the  "  Medusa "  of  Gericault  and  the 
"  Odalisque  "  of  Ingres  occupied  all  minds,  yet  Vernet  also  received 
much  attention  and  praise.  The  Duke  of  Berry,  in  his  role  of  patron 
of  the  Societe  des  Amis  des  Arts,  now  commanded  two  pictures  of 
Vernet ;  he  painted  "  The  Dog  of  the  Regiment "  and  "  The  Horse 
of  the  Trumpeter,"  for  the  two  receiving  5,000  francs.  Meantime 
Vernet  made  numerous  sketches  for  lithographs,  which  were  scattered 
among  the  people,  the  spirit  of  which  was  displeasing  to  the  King, 
and  it  seemed  wise  for  the  artist  to  leave  Paris.    In  1820  he  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  317 


his  father  went  to  Rome.  At  this  time  was  painted  the  famous 
"  Course  des  Barberi,"  or  the  departure  of  the  horses  for  the  carni- 
val races.  It  was  sold  to  M.  de  Blacas  for  4,000  francs.  After  his 
return  to  Paris  he  painted  for  M.  Odiot  "  The  Defence  of  the  Barrier 
of  Clichy,"  Avhich  is  by  many  considered  his  best  work.  Odiot  paid 
him  4,000  francs  for  it,  and  gave  it  to  the  Chamber  of  Peers  ;  it  is 
now  at  the  Louvre.  The  year  1822  may  be  said  to  end  the  first 
period  of  his  life  ;  he  had  made  one  of  his  very  best  pictures,  but  he 
had  not  been  recognized  at  the  Salon  ;  he  had  sent  there  the  above- 
mentioned  work,  also  the  "  Battle  of  Jemmapes,"  painted  for  the 
Duke  of  Orleans,  and  a  number  of  other  works.  They  were  refused, 
the  only  one  exhibited  being  one  that  had  been  ordered  by  the  gov- 
ernment, and  the  subject  chosen.  It  represented  his  grandfather, 
Joseph  Vernet,  lashing  himself  to  the  mast  of  a  ship  during  a  tempest. 
He  received  6,000  francs  for  it.  The  public  were  indignant  that  he 
should  have  been  excluded  on  account  of  the  political  sentiments  he 
held,  and  he  opened  at  his  studio  an  exhibition  of  forty-five  of  his 
pictures,  which  embraced  a  great  variety  of  subjects.  Before  this 
time  he  had  relied  on  the  court  of  Orleans  ;  but  after  this  exposition 
he  had  the  public  for  his  friend.  Money  came  now  in  plenty  ;  the 
dealer  Schroth  bought  his  small  pictures,  giving  him  from  700  to 
2,000  francs  each.  The  Societe  des  Amis  des  Arts  paid  him  3,000 
francs  for  one,  and  a  Russian  princess  demanded  some  portraits  of 
Napoleon  at  1,000  francs  each.  In  1824  he  received  51,850  francs. 
Among  the  works  of  that  year  was  the  equestrian  portrait  of  the  Duke 
of  Angouleme,  for  which  he  was  paid  9,950  francs,  and  before  the 
year  was  out,  Charles  X.  ordered  his  portrait  at  the  same  price.  The 
following  year  he  was  overwhelmed  with  orders  for  portraits,  but  he 
found  time  to  paint  the  "  Bridge  of  Arcole,"  for  which  he  received 
10,000  francs,  and  the  "  Battle  of  Valmy,"  for  the  Duke  of  Orleans, 
which  closed  the  series  of  four  battles  which  the  Duke  wished  for 
the  Palais- Royal ;  —  they  were  Jemmapes,  Hanau,  Montmirail,  and 
Valmy. 

In  1826  Horace  and  his  father  were  invited  to  Avignon  to  attend 
the  opening  of  a  gallery  in  the  Museum,  devoted  to  the  Vernets,  who 
had  originated  in  that  city.  Carle  Vernet  sent  his  picture  of  the 
"Course  des  Barberi,"  and  Horace  sent  his  "  Mazeppa  pursued  by 
Wolves."  At  Avignon  they  received  every  possible  attention  ;  they 
were  conducted  to  the  home  of  their  ancestors  ;  they  piously  saluted 
it,  and  inscribed  their  names  on  the  door-posts.  At  the  ceremony  of 
opening  the  gallery,  poems  were  read  in  their  praise,  and  they  were 
made  members  of  the  Athenaeum.  After  they  returned  to  Paris  they 
received  two  urns  of  sculptured  silver.  They  bore  the  two  designs  of 
the  pictures  which  the  father  and  son  had  sent  to  Avignon  ;  they 
were  the  work  of  a  jeweler  in  that  city,  who  refused  to  be  paid  for  his 
labor  on  them  ;  they  were  presented  to  the  artists  by  the  city  of 


318     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Avignon.  The  Gallery  Vernet  is  still  a  sacred  place  in  the  old  city  of 
the  Popes.  There  are  works  of  Antoine,  Francois,  Joseph,  Carle,  and 
Horace  Vernet.  The  first  canvas  of  the  "  Mazeppa  "  was  injured  by 
a  saber-stroke  in  the  tumultuous  studio  of  Vernet ;  he  made  a  second 
picture,  and  both  are  at  Avignon  ;  beneath  them  are  the  busts  of 
Joseph  Vernet  by  Brian,  and  that  of  Horace  by  Thorwaldsen.  After 
his  election  to  the  Institute  in  1826  Vernet  changed  the  style  of  his 
subjects.  For  the  "  Julius  II.,"  a  ceiling  in  the  Museum  of  Charles 
X.,  he  received  17,910  francs  ;  for  "Philip  Augustus  before  Bouvines," 
now  at  Versailles,  24,775  francs  ;  for  the  "  Battle  of  Fontenoy," 
30,000  francs.  In  1828,  when  appointed  to  the  French  Academy  at 
Eome,  he  established  Salons  every  Thursday  ;  they  were  very  gay,  — 
they  were  attended  by  artists,  travelers,  and  men  of  distinction,  who 
danced  and  amused  themselves  as  if  the  world  of  Paris  had  sprung 
up  in  Rome.  Vernet  now  added  new  subjects  to  his  list  ;  he  painted 
Roman  women,  brigands,  etc.,  and  the  year  1831  marks  the  end  of 
his  second  period.  In  serious  work  he  had  not  advanced.  The  "Ar- 
rest of  the  Princes  "  was  the  best  picture  sent  from  Rome,  but  it  was 
not  equal  to  the  "  Clichy  "  of  ten  years  before.  After  the  revolution 
of  1830,  it  was  a  trial  to  Vernet  to  wear  his  honors  at  the  Villa 
Medici.  The  French  army  was  making  more  subjects  for  pictures 
than  ever  before  since  the  campaign  in  Egypt,  and  Vernet  could  not 
follow  it.  In  1833  he  was  relieved,  and  soon  went  to  Algiers.  At 
the  time  of  his  arrival  military  operations  were  suspended,  but  he 
occupied  himself  continually  in  sketching.  He  painted  also  the 
"  Rebecca,"  for  which  the  Duke  of  Rohan  paid  1,000  crowns,  and 
"  Arabs  conversing  under  a  Fig-Tree, "  for  Lord  Pembroke,  and  dupli- 
cated it  for  Gourieff,  receiving  16,000  francs  for  the  two.  In  1833 
the  King  ordered  the  palace  at  Versailles  to  be  used  for  an  historical 
museum.  From  this  time  the  two  thoughts  of  Horace  Vernet  were 
the  East  and  the  Museum  at  Versailles.  The  few  works  that  he  exe- 
cuted, not  connected  with  these  two  objects,  are  comparatively  unim- 
portant. Louis  Philippe,  who  had  ordered  from  him  the  four  battle- 
scenes  already  mentioned,  now  required  of  him  Friedland,  J ena,  and 
Wagram.  There  was  no  room  large  enough  to  hold  his  immense  can- 
vases, and  on  that  account  one  floor  was  removed,  throwing  two 
etages  into  one,  and  thus  the  grand  Gallery  of  Battles  was  made. 
Bouvines  and  Fontenoy  were  added  to  the  above-named  works.  At 
length  the  King  wished  the  artist  to  paint  the  Siege  of  Valenciennes. 
It  is  related  that  on  that  occasion  Louis  XIV.  with  Mme.  de  Main- 
tenon  remained  in  a  mill,  where  they  could  safely  watch  the  combat ; 
the  King  wished  this  to  be  represented.  Vernet  refused  to  so  paint  it, 
and  left  Paris  for  St.  Petersburg.  He  was  received  with  open  arms, 
flattered,  feted,  and  caressed.  After  a  time  the  Czar  desired  him  to 
paint  the  "Taking  of  Warsaw";  instead  of  refusing,  Vernet  replied, 
"  Why  not  ?    Does  a  Christian  artist  hesitate  to  paint  the  passion  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  319 


Christ  ? "  If  the  Czar  had  ever  seen  the  picture  which  Vernet  made, 
he  would  have  been  amazed  at  his  audacity.  Under  a  gloomy  sky, 
in  the  midst  of  smoke,  he  painted  a  soldier,  dressed  in  a  white  tunic 
with  purple  facings,  fallen  and  fearfully  wounded  in  the  head  ;  upon 
his  breast  rested  an  eagle,  decorated  with  the  cordon  noir,  pressing 
hard  upon  the  prostrate  wretch  with  his  frightful  talons.  Vernet  was 
never  willing  to  part  with  this  picture,  but  guarded  it  as  one  cherishes 
the  memory  of  a  virtuous  act. 

He  returned  suddenly  to  Paris  in  order  to  see  his  father,  who  longed 
for  him,  and  died  a  few  months  later.  Vernet  had  no  trouble  in  re- 
entering Versailles;  he  was  as  necessary  there  as  he  could  wish  to  be; 
no  one  had  been  found  who  could  satisfactorily  fill  his  place.  News 
came  of  the  taking  of  Constantine,  and  Vernet  was  officially  dispatched 
to  take  sketches  on  the  spot  for  his  three  great  paintings  for  the  Salon 
of  Constantine.  When  these  were  completed,  they  were  surrounded 
by  other  works  of  his,  until  that  Salon  became  a  wonderful  monument 
to  his  facility  of  design  and  execution.  In  1839  Vernet  went  to 
Egypt,  Syria,  and  Turkey.  In  1842  he  went  again  to  Russia,  where 
he  made  a  long  journey  with  the  Czar,  and  others  of  high  position. 
He  was  a  great  favorite  with  the  Emperor,  who  liked  him  all  the  more 
that  he  did  not  always  agree  with  His  Majesty.  On  returning  to  St. 
Petersburg,  he  remained  for  some  time,  painted  his  portrait  of  the 
Empress,  received  many  valuable  presents,  etc.  After  his  return  to 
Paris  he  took  up  portrait-painting,  but  still  new  battles  were  fought, 
and  his  old  love  resumed  her  sway  over  him.  He  left  Marseilles  for 
Oran  in  1845.  The  army  received  him  with  great  enthusiasm,  and 
showed  him  unprecedented  honors,  hailing  him  as  the  great  painter  of 
its  hardships,  bravery,  and  victories.  Upon  this,  and  all  the  occasions 
of  his  life  in  which  he  was  made  the  recipient  of  unusual  honors,  he 
conducted  himself  with  most  becoming  modesty,  and  in  this  way, 
perhaps  more  than  in  any  other,  he  manifested  the  sensible  common- 
sense  side  of  his  character.  The  revolution  of  1848  struck  Vernet  to 
the  heart  ;  he  still  worked  on,  but  his  best  and  happiest  days  were 
gone.  At  the  Exposition  of  1855  he  had  a  Salon  entirely  devoted  to 
his  works,  and  it  was  a  great  satisfaction  to  him  to  thus  show  to  men 
from  the  four  quarters  of  the  globe  upon  what  rested  his  claim  to 
fame.  He  lived  yet  eight  years  more.  He  worked  always;  the  Cri- 
mean war  opened  to  him  a  new  field,  and  he  was  much  interested  in  it. 
He  painted  the  battle  of  Alma,  a  portrait  of  Napoleon  III.,  and  other 
works,  but  he  wrote  of  himself  thus  :  "  When  time  has  worn  out  a 
portion  of  our  faculties,  we  are  not  entirely  destroyed,  but  it  is  neces- 
sary to  know  how  to  leave  the  first  rank,  and  content  one's  self  with 
the  fourth." 

"  How  can  one  judge  with  one  word  a  career  so  long  and  full  ?  At  an  age  when  so 
many  only  commence  to  feel  their  way,  he  was  already  a  painter.  He  held  the  brush 
sixty  years.   Could  he  have  held  it  without  weaknesses  ?  To  expect  it  would  not  be  loyal. 


320     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Is  it  necessary,  on  the  other  part,  to  place  the  prophetic  trumpet  at  the  lips  and  proclaim 
Horace  Vernet  the  national  painter  of  France?  Without  doubt  he  has  recorded  the 
history  of  France  in  pictures,  but  all  the  painters  at  Versailles  have  done  the  same.  For 
us,  leaving  to  foreigners  the  malign  pleasure  of  judging  us  after  their  standards,  we  be- 
lieve that  we  recognize  in  the  French  nation  more  depth  and  more  height  than  Horace 
Vernet  has  known  how  to  give  it.  But  to  what  profit  these  useless  debates  ?  We  have 
before  us  a  man  of  incontestable  value,  an  artist  by  right  of  birth,  a  skillful  designer, 
who  has  cast  to  the  wind  of  publicity  more  than  two  hundred  lithographs  :  a  skillful 
painter,  whose  pictures  can  be  numbered  to  five  hundred  ;  an  amusing  story-teller  when 
he  takes  the  pen  ;  a  man  who  by  his  labors,  his  activity,  his  travels,  has  lived  the  meas- 
ure of  several  lives,  and  has  influenced  his  country  and  his  age.  Shall  we  attempt  to 
lessen  him  by  most  incomplete  criticisms,  or  aggrandize  him  without  moderation  by  un- 
reasonable eulogies  ?  No  !  Let  us  bow  before  this  triumph  of  skill  and  genius,  and  with- 
out seeking  outside  his  family  for  comparisons,  let  us  salute  him  as  the  last  and  greatest 
of  the  Vernets."  —  L:eon  Lagrange,  Gazette  des  Beaux-Arts,  November,  1863. 

"  Vernet  is  the  most  direct  offspring  of  the  common  taste  and  mind  of  France.  He  is 
the  artist  of  the  multitude.  All  is  revealed  at  one  look.  His  hand  and  eye  are  quick, 
memory  retentive,  and  manner  dashing,  materialistic,  and  sensational.  The  love  of  ex- 
citement and  adventure,  a  free  camp-life,  and  brave  deeds,  are  his  special  attractions. 
He  tells  his  story  rapidly  and  off-hand,  freely  emphasizing  for  effect,  but,  in  the  main, 
truth-telling.  It  is  done  by  action,  for  he  has  no  sentiment  for  color,  and  no  higher  in- 
tellectual aim  the.n  declamation.  Vernet  is  a  clever  but  not  great  artist.  He  rejects 
academic  trammels,  and  makes  himself  a  spirited  reporter  of  history  in  its  external  look, 
the  French  soldier  being  his  ideal  man.  In  fine,  he  seems  to  be  a  sort  of  '  our  own  cor- 
respondent '  of  the  brush,  after  the  stamp  of  the  Times'  Russell,  very  acceptable  to 
those  who  care  only  for  a  lively-told  story."  —  Jarves,  Art  Thoughts,  1869. 

Vernon,  Thomas.  (Brit.)  (1824  -  1871.)  Studied  art  in  Paris 
for  some  years.  Well  and  favorably  known  in  England  as  a  line- 
engraver.  Among  his  works  are,  "  The  Virgin  Mother,"  after  Dyce  ; 
"  Abundance,"  after  Van  Eycken  ;  "  Olivia,"  after  C.  K.  Leslie  ;  "  The 
Novice,"  after  A.  Elmore  ;  Raphael's  "  Mother  and  Child,"  Cope's 
"  First-Born,"  and  Murillo's  "  Christ  healing  the  Sick." 

Veron,  Alexandre  Rene\  (Fr.)  Born  at  Montbazon.  Pupil 
of  M.  Delaroche.  At  Philadelphia  he  exhibited  "  The  Banks  of  the 
Seine,"  "  Entrance  to  the  Harbor  of  Boulogne, —  a  Storm,"  and  a  "  Park 
at  Senlis,"  and  received  a  medal.  At  the  Salon  of  1878  he  exhibited 
"  After  the  Rain "  and  "  A  Fine  Winter  Day,"  both  views  at  Ar- 
genteuil  (Seine  et  Oise)  ;  and,  in  1877,  "  The  Park  at  Mont-l'Eveque  " 
and  "  Evening  in  the  same  Park." 

Vertunni,  Achille.  (Ital.)  Born  at  Naples.  Pupil  of  Fergola. 
A  painter  of  landscapes.  Medal  at  Philadelphia.  Some  of  his  views 
in  Egypt  are  remarkable  for  their  truthful  rendering  of  the  character- 
istic lighting  of  that  country,  and  the  grandeur  and  impressiveness  of 
its  ruins  are  told  in  the  pictures  of  Vertunni  as  few  artists  have  at- 
tempted to  portray  them.  Our  idea  of  Eastern  pictures  is  too  much 
associated  with  scenes  in  harems,  mosques,  etc.,  which  are,  strictly 
speaking,  costume  pictures,  and  give  no  idea  of  the  great  and  grand 
wonders  of  that  old  world.  Vertunni  had  shown  his  power  in  kin- 
dred subjects,  in  his  fine  representations  of  the  Roman  Campagna, 
before  he  saw  the  East,  and  he  has  well  fulfilled  the  hopes  which  his 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  321 


admirers  indulged  regarding  the  manner  in  which  he  would  inter- 
pret other  scenery  than  that  of  Italy.  At  the  Paris  Salon  of  1876 
he  exhibited  "  At  Naples  "  and  "  A  Pool,  Roman  Campagna."  The 
works  of  Vertunni  are  sometimes  seen  in  England,  more  rarely  in 
America.  His  means  are  such  that  he  has  been  able  to  surround 
himself  with  everything  that  artists  love,  and  a  visit  to  his 
studio,  where  salon  after  salon  is  filled  with  artistic  treasures  of 
past  centuries,  is  one  of  the  choicest  pleasures  a  visitor  to  Pome  can 
enjoy.  But  amid  this  little  world  of  rich  old  tapestries,  rugs,  bronzes, 
statues,  armor,  porcelains,  and  flowers,  amid  all  this  deep-toned 
coloring  and  artistic  richness,  the  pictures  of  the  artist  cannot  be 
overlooked,  though  modestly  placed,  as  if  but  a  part  of  the  elegant 
furnishing  of  the  rooms.  The  eye  may  wander  from  them  for  a 
time,  but  it  will  return,  and  in  the  future  these  pictures  are  the  dis- 
tinctive feature  in  one's  remembrance  of  that  wonderful  Roman 
studio.  At  Philadelphia  his  pictures  were  the  "  Ruins  of  Peestum  " 
and  "The  Pyramids  of  Egypt."  To  Paris,  in  1878,  he  sent  the  last 
work,  and  three  other  Eastern  and  Italian  scenes.  Two  of  Vertunni's 
pictures  belong  to  Mrs.  J.  H.  Weeks  of  Boston.  "  At  the  Dudley 
Gallery,"  says  the  London  Illustrated  News,  "  are  now  exhibited  some 
landscapes  by  Cavaliere  Vertunni,  a  celebrated  Neapolitan  artist, 
usually  resident  in  Rome.  These  works,  like  many  others  recently 
produced  in  Italy,  afford  very  gratifying  evidence  of  the  rapid  advance 
lately  made  by  the  modern  Italian  school." 

"  The  landscapes  of  Vertunni  are  remarkable  for  almost  exuberant  power,  for  almost 
excessive  daring  in  the  application  of  the  pigments,  and  for  entire  freedom  from  the  con- 
ventionalities of  'classical,'  as  opposed  to  naturalistic,  representation.  They  comprise 
five  large  and  noble  views,  widely  differing  in  subject  and  effect,  and  a  smaller  study 
for  a  picture  ;  the  whole  taken,  with  one  exception,  from  the  neighborhood  of  Rome  or 
in  Central  Italy."  —  Art  Journal,  August  13,  1870. 

Verveer,  Samuel  Leonidas.  (Dutch.)  Born  at  The  Hague 
(1813  -  1876).  Chevalier  of  the  Order  of  Leopold,  and  of  the  Crown 
of  Oak  of  Luxembourg.  Member  of  the  Art  Societies  of  Brussels 
and  Ghent.  Medal  at  Philadelphia.  This  artist  represented  views  of 
cities,  such  as  Amsterdam,  Rotterdam,  Bruges,  Dordrecht,  etc.  He 
also  painted  some  genre  subjects,  such  as  "  Salmon-Fishers,"  "  Depart- 
ure for  the  Market,"  etc.  At  Philadelphia  he  exhibited  "  The  Vil- 
lage of  Scheveningen." 

Vetter,  Jean  Hegesippe.  (Fr.)  Born  at  Paris,  about  1816.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Steuben.  Made  his  debut  at 
the  Salon  of  1842  with  a  portrait,  but  his  subjects  are  those  of  anec- 
dote, such  as  "  Mascarilla  presenting  Jodelet  to  Cathos  and  Madelon" 
(1865);  "  Bernard  Palissy  "  (1861),  a  work  which  made  a  great  success, 
and  was  sold  for  25,000  francs  ;  "  The  Quarter  of  an  Hour  of  Rabelais 19 
(1855)  ;  "  Moliere  and  Louis  XIV.,"  at  the  Luxembourg  ;  "  The  Ex- 
quisite, —  Time  of  Louis  XIII."  (1875)  ;  "  The  Flight  into  Egypt  " 
18*  u 


322     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(1874)  ;  "  Mazarin  "  (1872),  purchased  by  the  Ministry  of  the  Beaux- 
Arts  ;  etc.    In  1878  he  exhibited  a  portrait  and  "  The  Letter." 

Veyrassat,  Jules  Jacques.  {Ft.)  Born  at  Paris.  Medal  for 
etching  in  1866  and  J69,  and  for  painting  in  1872.  The  father  of 
Veyrassat  was  a  jeweler,  and  wished  his  son  to  follow  the  same  occu- 
pation ;  he  placed  the  boy  at  the  Drawing  School  in  the  Rue  l'^cole 
de  Medecine,  which  was  intended  to  fit  young  men  for  trades  which 
have  some  connection  with  art.  The  young  artist  was  very  happy 
there,  and  drew  and  modeled  arduously.  His  success  in  this  school 
determined  him  to  make  art  a  profession.  His  father  sought  the 
advice  of  Decamps,  who  said  that  obstacles  should  be  thrown  in  the 
way  of  the  son,  thinking  that  if  he  indeed  had  a  vocation  for  art,  he 
would  overcome  all  difficulties,  and  if  not  he  had  best  be  discouraged. 
After  the  revolution  of  1848  the  father  was  too  poor  to  aid  the  son  in 
any  case.  Veyrassat  then  commenced  making  copies  of  works  in  the 
Louvre,  and  also  some  etchings  for  publishers.  In  this  way  he  sup- 
plied his  necessities,  and  as  soon  as  he  could  afford  it  moved  to  ^Icouen, 
where  he  became  the  friend  of  Edouard  Frere.  Veyrassat  paints  pic- 
tures of  country-life  pure  and  simple.  In  1877  he  exhibited  the 
"  Passe-cheval "  (a  small  boat  for  taking  horses  over  a  stream,  etc.) 
and  the  "  Stone  Quarry "  (Fontainebleau)  ;  in  1876,  "  The  Little 
Bridge  at  Samois  "  and  "  A  Relay  of  Horses  for  Tow-Boats  "  ;  in  1875, 
"  The  Watering-Place,"  "  The  Well,"  and  "  Stone  Carts  "  (Fontaine- 
bleau), etc.  His  subjects  are  often  repeated.  Veyrassat  lives  at  Samois 
on  the  Seine,  near  the  Forest  of  Fontainebleau,  a  place  well  suited  to 
his  studies.  This  artist  also  paints  in  water-colors  ;  "  The  Luncheon 
of  the  Harvesters  "  (1877)  is  a  good  specimen  of  his  art  in  this  direc- 
tion. A  picture  by  Veyrassat,  "  Barge  Horses,"  is  in  the  collection  of 
Mrs.  H.  E.  Maynard  of  Boston.  To  the  Salon  of  1878  he  sent  «  The 
Fair  of  St.  Catherine  at  Fontainebleau  "  and  "  A  Relay  for  Horses  of 
Tow-Boats." 

Vibert,  Jehan  Georges.  (Fr.)  Born  at  Paris,  1 840.  Chevalier  of 
the  Legion  of  Honor,  1870.  Pupil  of  l'l^cole  des  Beaux- Arts,  and  of 
Barrias.  Made  his  debut  at  the  Salon  of  1863,  seven  years  only  be- 
fore his  decoration.  During  the  siege  of  Paris  he  belonged  to  the 
Sharp-Shooters,  and  was  wounded  at  the  combat  of  Malmaison,  Octo- 
ber, 1870.  At  the  Salon  of  1877  he  exhibited  "  The  New  Clerk  " 
(purchased  by  Mr.  Butler  of  New  York)  and  "  The  Serenade,"  also 
four  water-color  sketches  ;  in  1876,  a  portrait  and  "  The  Antechamber 
of  Milord";  in  1875,  "The  Grasshopper  and  the  Ant"  and  "The 
Repose  of  the  Painter";  in  1874,  "  The  Reprimand  "  (belonging  to 
Miss  Wolfe),  "  A  Monk  gathering  Radishes,"  and  a  portrait ;  in 
1873,  "  The  Departure  of  the  Bridegrooms  "  (Spain)  and  "  The  First- 
Born  "  (belonging  to  Mr.  Stebbins)  ;  in  1870,  "  Gulliver  fastened  to 
the  Ground  and  surrounded  by  the  Army  "  and  "  The  Importunate  "  ; 
etc.    At  the  Johnston  sale,  the  "  Servant  Reading  "  (water-color,  8  by 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  323 


11)  sold  for  $  330  ;  "  The  Knife-Grinder  "  (pen  and  ink,  7  by  5),  for 
$  200  ;  and  "  The  Offer  of  the  Umbrella "  (water-color,  18  by  13), 
$  1,000.  Besides  his  exhibits  at  the  Salons,  Vibert  has  painted  more 
than  one  hundred  easel-pictures.  He  has  also  executed  an  "  Assump- 
tion of  the  Virgin "  for  the  chapel  of  Saint-Denis  in  the  church  of 
Saint-Bernard.  As  an  author  he  has  produced  a  vaudeville,  the  "  Tri- 
bune mecanique,"  two  comic  scenes  for  acting,  called  the  "  Chapeaux" 
and  the  "  Portraits  "  ;  also  a  comedy,  the  "  Verglas."  At  a  sale  in 
Brussels,  1874,  "  Gulliver  in  Liliput  "  sold  for  £  800.  At  the  Latham 
sale,  New  York,  1878,  "  A  Committee  on  Moral  Books  "  sold  for  $  4,100. 
It  is  19  by  26  inches  in  size.  At  the  Salon  of  1878  he  exhibited 
'*  The  Apotheosis  of  Thiers."  This  is  fully  described  in  the  following 
letter  written  from  Paris,  October,  1877,  by  Miss  Brewster  of  Rome  :  — 

"  One  of  the  most  original  artists  that  Le  Roux  introduced  me  to  is  Vibert ;  he  is 
truly  an  original  man  in  every  way.  He  is  middle-sized,  stout  for  his  age,  —  for  he  seems 
only  thirty-five,  —  has  a  full,  merry,  happy,  but  very  shrewd,  sensible  face ;  he  loves 
work,  and  is,  as  are  all  these  men,  an  indefatigable,  untiring  worker,  but  he  loves  also 
to  take  his  play-hours.  In  the  evening  he  goes  to  the  theater,  and  among  his  friends  and 
himself  removes  his  thoughts  from  his  work  and  his  studio. 

"  And  what  a  worker  he  is,  not  only  in  his  studio,  but  all  over  his  house  !  From  the 
moment  you  enter  the  grille  of  his  handsome  residence  in  Rue  de  Boulogne,  up  to  the 
studio,  you  see  you  are  in  an  artist's  house.  There  are  fine  Japanese  majolica  mon- 
sters on  the  portico  ;  marble  shells  full  of  flowers  ;  the  walls  of  the  entrance-way  are 
Pompeian ;  the  walls  of  the  staircase  are  covered  with  India-straw  matting,  and  the 
outside  of  the  stair-balustrade  has  a  deep  fringe  of  rattan ;  India  plates  of  brass  and 
India  panelings  are  on  the  landing-places.  His  bedroom  is  Japanese,  and  he  has 
painted  the  ceiling  to  imitate  a  great  plaque  of  crackled  porcelain  ;  it  is  deliciously 
done.  He  has  inclosed  all  his  garden  and  made  a  sort  of  Japanese  court  and  salon  ; 
there  are  skylights  and  gay  friezes,  and  part  of  the  ceiling  he  has  decorated  most  skill- 
fully with  curious,  grotesque,  and  gay-colored  Japanese  dragons  and  gilt  diaperings. 
At  the  end  of  the  court  is  to  be  a  fountain  of  his  own  designing.  I  saw  the  photographs 
of  it.  There  is  a  red  marble  basin,  and  on  the  top  of  the  whole  is  a  bronze  bust  of  La 
Fontaine,  the  French  fabulist.  On  the  fountain  front  are  bas-reliefs  from  some  of  the 
fables.  One  is  of  the  stork's  feast  to  the  wolf,  and  at  the  side  of  the  fountain  ;s  the 
device  Vibert  has  adopted  from  one  of  La  Fontaine's  fables,  '  Travaillez,  prenez  de  la 
peine.' 

"  Vibert's  pictures  are  remarkable,  as  you  know,  for  delicacy  of  touch  and  nice  feeling 
for  color.  He,  as  all  the  other  Parisian  artists,  studies  nature  constantly.  He  builds 
up  his  pictures,  and  copies  accurately.  His  poetic  imagination  supplies  the  ideal.  His 
studio  is  arranged  for  different  compositions  of  pictures.  On  one  side  are  two  fine 
columns  with  gilt  capitals,  and  draperies  hanging  between.  On  another  side  is  a  balus- 
trade.  There  are  all  manner  of  accessories  about. 

"  I  have  left  to  the  last  the  description  of  the  picture  Vibert  is  painting  for  the  com- 
ing Salon  ;  it  is  already  celebrated,  although  only  a  study  as  yet  of  the  immense  work  it 
will  be  when  completed.  All  Paris  that  is  interested  in  art  is  talking  of  this  picture, 
not  only  on  account  of  its  great  cleverness  but  also  because  of  its  curious  history.  The 
subject  is  now  called  the  '  Apotheosis  of  Thiers.'  When  Vibert  designed  the  picture  he 
asked  Detaille  to  help  him  paint  it.  The  two  men  worked  on  it  most  faithfully ;  when  it  ar- 
rived at  a  certain  point  Detaille  requested  his  master,  Meissonier,  to  see  it.  Meissonier 
refused,  and  showed  such  displeasure  that  Detaille  was  obliged  to  give  up  all  work  upon 
it,  as  his  master  selfishly  wished  to  keep  the  subject  for  himself.  Vibert  luckily,  how- 
ever, has  no  such  feelings  of  delicacy  toward  Meissonier,  and  has  resolved  to  finish  the 
stupendous  work  alone  and  unaided. 


324     ARTISTS  OF  THE  NINETEENTH  CENTURY- 


"It  is  hardly  an  'apotheosis,'  for  the  ideas  and  works  of  Thiers,  rather  than  his 
person,  are  deified  in  this  noble  design  of  Vibert's.  I  think  I  never  felt  so  deeply  before 
how  difficult  it  is  to  explain  or  describe  in  words  a  picture  ;  it  is  always  a  thankless 
task,  but  in  the  present  case  the  subject  is  so  complex  that  language  can  do  it  no  justice. 
There  are  an  infinite  number  of  details  in  the  picture  ;  but  the  principal  personage  is 
expressed  in  a  forcible,  striking  manner.  The  dead  body  of  the  great  French  debater, 
historian,  and  statesman  lies  on  a  bier,  decorated  with  the  grand  cross  of  the  Legion  of 
Honor.  Although  the  body  and  face  have  the  cadaverous  rigidity  of  death,  there  is 
likewise  a  noble  expression,  an  elevated  character  given  to  this  form  of  death  that  seems 
to  make  it  grander  and  more  dignified  than  in  life  ;  and  in  the  center  of  the  immense 
composition,  so  original  in  its  conception,  this  figure  first  arrests  the  attention  ;  this  is 
the  great  difficulty  of  such  a  picture,  and  it  has  been  overcome  in  a  masterly  manner. 
At  the  foot  of  the  bier  stands  France,  a  beautiful,  noble  woman,  weeping,  draped  in 
black  crape  ;  she  is  laying  gently  the  tricolored  flag  over  the  bier,  and  its  folds  are  en- 
veloping the  body  of  the  dead.  At  the  head  of  the  bier,  to  the  right,  almost  in  the  center 
of  the  picture,  is  Glory,  tall  and  beautiful,  with  a  transparent  Greek  tunic  ;  she  has  just 
alighted  ;  the  feet  hardly  touch  the  ground  ;  her  wings  (golden)  are  unfolded,  and  with 
a  noble  movement  she  points  to  the  heavens,  where  you  see  displayed,  as  in  cloud- 
visions,  the  works  and  ideas  of  the  dead  great  man  ;  in  one  of  her  hands  is  an  oak 
branch,  the  civic  recompense  she  offers  to  the  citizen  of  citizens,  —  he  who  triumphed  so 
nobly  over  the  horrors  of  the  Commune  and  redeemed  France. 

"  The  Commune  is  represented  by  a  sort  of  hybrid  being  that  lies  in  the  right  corner  of 
the  picture  on  the  ground  in  a  death  agony  ;  the  red  flag  is  in  tatters  beneath  this 
creature,  and  in  its  hand  is  a  burning  torch.  This  torch  rests  against  the  shield  of 
Paris,  which  is  half  charred.  This  is  a  most  curious  and  impressive  part  of  the  remark- 
able picture. 

"  At  the  foot  of  the  bier  are  heaped  up  laurels,  wreaths  and  crowns  and  garlands,  the 
memories  of  the  numberless  testimonies  of  sorrow  that  were  sent  by  all  classes  of  per- 
sons to  the  funeral  of  Thiers,  and  there  is  also  the  black  standard  of  Belfort,  dedicated 
to  him  who  was  able  to  save  this  city  for  France  after  the  terrible  Prussian-French  war. 
To  the  right  in  the  distance  is  represented  the  siege  of  Paris  ;  there  is  fighting  and  car- 
nage ;  the  forts  are  defending  the  city.  This  is  another  testimony  of  gratitude  to  the 
dead  statesman,  for  it  was  Thiers  who  fortified  the  city  in  1840,  when  he  was  minister 
under  Louis  Philippe.  By  these  fortifications,  it  will  be  remembered,  Paris  was  able  to 
hold  out  so  long,  to  the  great  astonishment  of  all  Europe,  when  the  formidable  Prussian 
army  invaded  the  city,  for  it  was  known  that  only  some  debris  of  regiments,  collected  in 
haste,  had  subdued  the  insurgents  among  the  people,  and  were  defending  the  place. 

"  To  the  left,  back  of  the  lovely  figure  of  mourning  France,  we  see  the  funeral  cortege, 
soldiers,  deputations,  the  funeral  car  or  chariot,  the  immense  crowd,  the  whole  people  — 
a  million  of  men  as  it  were  —  entering  Pere  la  Chaise,  and  behind  this  vast  concourse  is 
the  great  silhouette  or  outline  of  the  city  of  Paris,  This  completes  the  various  ground- 
plans  of  the  picture. 

"  The  artist  then  desires  to  express  M.  Thiers  in  the  three  great  phases  of  his  life,  —  a 
life  that  was  singularly  complete  in  each  phase,  —  the  orator,  the  historian,  and  the 
statesman.  To  give  these  three  forms,  he  uses  most  happily  the  heavens  of  his  picture, 
and,  although  the  representations  are  multiplied,  all  is  so  well  ordered,  arranged  with 
such  clever  ingenuity,  that  nothing  is  confused  or  troubled.  Here,  again,  words  are  mis- 
erably weak.  Each  episode  of  the  dead  statesman's  life  is  given  with  clearness  and 
diversity  in  the  moving  masses  of  clouds,  and  the  clouds  lose  none  of  their  lightness. 
The  varied  actions,  too,  produce  a  happy  effect  to  the  eye,  although  in  description  the 
melange  may  seem  incredible  and  impossible.  As  M.  Thiers  first  made  himself  known 
as  a  speaker,  it  is  with  that  phase  the  cloud  phantasmagoria  begins.  To  the  left,  at  the 
very  summit  of  the  clouds,  is  the  Chamber  of  Deputies,  with  its  tribune  that  was  so 
often  made  illustrious  by  the  speeches  of  Thiers  ;  1830  is  personified  by  the  Column  of 
July,  when  he  made  part  of  the  government.    Below  this  rolls  a  mass  of  clouds  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  325 


sweep  across  the  cauvas  ;  these  contain  the  historian's  phase,  the  works  he  wrote  on  the 
Revolution,  the  Consulate,  and  the  First  Empire. 

"  In  the  clouds  we  see  tirst  the  Bastile,  and  the  people  destroying  it  in  their  fury.  Then 
advance  forward  the  soldiers  of  the  Republic  ;  these  are  J  einapes,  Fleuris,  and  the  great 
wars  of  Italy.  To  these,  follows  mysterious  Egypt,  with  its  pyramids  ;  the  banks  of  the 
Nile,  covered  with  triumphant  French  armies,  Kleber,  Desaix  ;  here  is  the  center  of  the 
canvas,  and  the  heavens  are  brightly  illuminated ;  this  glow  is  very  harmonious,  and 
unites  well  with  the  warm  color  of  glory.  To  this  center  also  is  given  part  of  the  history 
of  Napoleon  at  the  summit  of  his  glory  and  power :  it  is  the  brilliant  period  of  the  First 
Empire  ;  but  the  heavens  gradually  lose  their  brilliancy,  as  if  to  typify  that  it  is  no  longer 
the  people  that  is  ruling  ;  there  are  battles  and  victories,  but  the  imperial  glory  becomes 
obscured  and  somber  ;  Russia  is  represented  by  a  routed  army  in  the  center  of  snow  and 
ice.  This  wonderful  historical  epic  is  given  with  marvelous  clearness  and  genius  ;  it 
traverses  the  canvas  from  left  to  right.  Then  at  the  right  extremity  the  acts  of  M.  Thiers 
are  resumed.  We  see  the  grounds  of  Longchamps,  where  Thiers,  as  President  of  the 
Republic,  held  the  grand  review  of  the  troops,  which  he  reorganized  when  it  was  thought 
that  France,  crushed,  humiliated,  despoiled,  could  never  rise  from  her  terrible  fall. 
When  I  think  how  beautiful  is  this  truly  sublime  picture,  and  how  inefficient  are  words 
to  give  an  idea  of  it,  my  attempt  seems  most  audacious.  Those  of  you  who  will  see  the 
picture  next  spring  may  forget  my  description,  but  those  of  you  who  cannot  have  that 
privilege  and  pleasure  may  accept  my  intentions  indulgently,  and  probably  be  glad  to 
have  the  result  of  them. " 

Vinck,  Franz.  (Belgian.)  Of  Antwerp.  Medal  at  Philadelphia, 
where  he  exhibited  "A  Flemish  Burgher's  Wife  in  the  Sixteenth 
Century "  and  "  The  Confederates  in  the  Presence  of  Marguerite  of 
Parma." 

Vinton,  Frederick  Porter,  A.  N.  A.  (Am.}  Born  in  Bangor, 
Me.,  1846.  This  painter  was  brought  up  to  mercantile  pursuits,  but 
turned  his  attention  to  art,  and  when  seventeen  years  old  the  advice 
and  influence  of  W.  M.  Hunt  helped  to  fix  his  decision  to  become  a 
painter.  In  1875  Vinton  went  to  Paris  and  studied  seven  months 
under  Bonnat.  He  then  went  to  Munich,  and  remained  a  year, 
studying  under  Duveneck  and  in  the  Academy  under  Professors 
Wagner  and  Diez.  He  returned  to  Paris,  and  was  one  of  the  early 
pupils  in  the  school  of  Jean  Paul  Laurens.  He  returned  to  America 
in  the  autumn  of  1878,  and  opened  a  studio  in  Boston.  Before  going 
to  Europe  Vinton  exhibited  his  pictures  at  the  Boston  Art  Club. 
"  Celestina,"  one  of  his  early  works,  belongs  to  Mrs.  Dix  of  Boston. 
At  the  Paris  Salon  of  1878  Vinton  exhibited  the  "Little  Gypsy"  or 
"Italian  Girl,"  which  was  afterwards  seen  at  Doll  and  Eichards, 
Boston.  To  the  Paris  Exhibition,  1878,  he  sent  "A  Head  of  a 
Neapolitan  Boy  "  and  the  "  Head  of  an  Old  French  Peasant- Woman." 
The  former  was  sold  for  1,200  francs.  Vinton  paints  portraits,  and 
has  produced  a  fine  one  of  Mr.  T.  G.  Appleton. 

"  Mr.  Vinton's  '  Celestina '  is  more  to  our  mind  than  either  Bouguereau  or  Duveneck. 
However,  Mr.  Vinton  stands  in  an  intermediate  place,  with  a  picture  professing  neither 
the  actualness  of  Duveneck  nor  the  idealized  polish  of  Bouguereau,  but  merely  the 
charming  reality  of  art  modifying  and  sweetening  its  subject,  —  a  young  Italian  girl 
playing  a  mandolin,  and  clad  in  a  faded  blue  kirtle,  drab  jacket,  and  a  white  kerchief 
yellow  fringed.   Green,  gray,  brown,  and  red  are  darkly  interblended  in  the  background, 


326     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  the  figure  is  defined  by  some  bold  and  yet  subdued  spreading  of  lights  on  face,  hair, 
and  form."  —  The  Atlantic,  June,  1875. 

"  Mr.  Frederick  Vinton's  '  Italian  Girl,'  which  was  exhibited  in  the  Salon  and  received 
the  generous  praises  of  his  brother  artists  in  Paris,  is  the  best  representative  of  his  work 
abroad,  and  affords  an  excellent  opportunity  for  renewing  our  acquaintance  with  him. 
The  picture  made  a  good  impression  in  Paris,  and  certainly  will  sustain  before  the  Bos- 
ton public  the  honor  which  is  conferred  upon  a  painting  by  its  admission  to  the  Salon. 
.  ...  In  Mr.  Vinton's  picture  what  charms  most  is  the  richness  and  harmony  of  the 
coloring.  The  flesh  is  very  natural.  It  looks  as  though  it  would  yield  to  the  pressure  of 
the  finger,  —  there  is  nothing  hard  about  it.  To  say  that  he  has  given  the  subject  a  new 
charm,  is  to  say  a  great  deal,  when  we  remember  how  many  times  the  subject  has  been 
treated  and  by  what  artists."  —  J.  B.  Millet,  Boston  Advertiser,  November  12, 1878. 

Viollet-le-Duc,  Etienne  Adolphe.  (Fr.)  Born  at  Paris  (1817- 
1878).  Three  medals  at  the  Salons.  Pupil  of  Leon-Fleury.  This 
landscape-painter  has  exhibited  at  the  Salons  since  1844.  Among  his 
numerous  works  we  may  name  the  following  :  in  1877,  "  Cliff  and 
Beach  at  Etretat  "  and  the  "  Plateau  of  Amont,  at  ^tretat "  ;  in  1876, 
"  The  Aqueduct  of  Buc,  in  the  Valley  of  Jouy  "  and  "  The  Calvary 
of  Yport  "  ;  in  1875,  two  pictures,  the  "  Western  and  the  Eastern 
Entrances  to  the  Ferme  du  Mont,"  at  Etretat ;  in  1874,  "  The  Environs 
of  Cannes  "  and  "  The  Isles  of  Hyeres  "  ;  in  1872,  "  The  Valley  of 
Jouy,  taken  from  the  Heights  of  Metz  "  ;  in  1870,  "The  Valley  of 
Jouy,  —  Morning,"  one  of  his  best  works.  Two  of  his  landscapes  were 
sent  to  the  Salon  of  1878  after  his  death. 

Viry,  Paul.  (Fr.)  Born  at  Poce.  Pupil  of  Picot.  At  the  Paris 
Salon  of  1877  he  exhibited  "Music"  and  "  A  Falconer  "  ;  in  1876, 
"  The  Duo  "  ;  and  in  1875,  "  The  Return  from  the  Hunt "  and  "  The 
Aviary."  At  the  Latham  sale,  New  York,  1878,  "Courtiers  of  Louis 
XIII."  (32  by  40)  sold  for  $  1,800. 

Vogel  von  Vogelstein,  Karl  Christian.  (Ger.)  Born  at  Wil- 
denfels  (1788  -  1868).  Member  of  the  Academies  of  Vienna,  Munich, 
Berlin,  and  St.  Petersburg.  This  artist  studied  at  the  Academy  of 
Dresden,  and  went  to  Rome,  where  he  passed  seven  years.  In  1820 
he  was  called  to  Dresden  as  a  Professor.  In  1842  he  returned  to 
Rome,  remaining  some  time.  He  executed  various  decorative  works, 
but  his  fame  rests  on  his  portraits.  That  of  Tieck  is  at  the  Berlin 
National  Gallery.  After  his  death  the  government  bought  for  the 
Museum  of  Dresden  the  entire  collection  left  in  his  studio.  The 
Leipsic  Museum  has  two  of  his  portraits.  Among  other  honors  he 
received  letters  of  nobility. 

Voillemot,  Andre'-Charles.  (Fr.)  Born  at  Paris.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Drolling.  Among  his  works  are, 
"Twilight,— a  Decorative  Fantasy,"  "The  Woman  with  Roses," 
"Spring,"  and  "Innocence  in  Danger." 

Volk,  Leonard  W.  (Am.)  Born  at  Wellstown,  New  York,  1828. 
He  has  spent  his  professional  life  principally  in  Chicago.  He  was 
for  several  years  in  Italy  at  work  and  at  study,  but  under  no  particu- 
lar master.     In  1867  he  was  elected  Academician  of  the  Chicago 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  327 


Academy  of  Design,  and  has  been  for  eight  years  its  president.  He  is 
also  a  member  of  the  Chicago  Academy  of  Sciences  and  of  other  Art 
associations  and  societies.  Among  his  more  important  works  are  the 
Douglas  Monument ;  a  bust  of  President  Lincoln,  from  life,  exhibited 
at  Paris  in  1867  ;  life-sized  statues  of  Lincoln  and  Douglas,  in  the 
Illinois  State-House,  executed  from  life  studies  ;  the  statuary  in  the 
Keep  Monument  in  Watertown,  N.  Y. ;  the  Erie  County,  N.  Y., 
Soldiers'  Monument,  the  first  monument  of  this  kind  erected  in  this 
country  ;  the  Soldiers'  Monuments,  with  statues,  at  Rock  Island 
and  Cook  County,  111.  ;  etc. 

Volk,  Douglas.  {Am.)  Son  of  Leonard  Volk.  He  has  been  a 
resident  of  Paris  for  some  time,  where  he  was  a  pupil  of  Gerome. 
He  has  also  studied  in  Rome.  To  the  Paris  Salon  in  1878  he  sent  a 
portrait  of  Mile.  T.  He  contributed  to  the  Centennial  Exhibition  at 
Philadelphia,  in  1876,  "Vanity"  and  "In  Brittany";  to  the  Ex- 
hibition of  the  Society  of  American  Artists  in  New  York  in  1878, 
two  views  of  "  Domestic  Life  in  Normandy." 

Vollon,  Antoine.  (Fr.)  Born  at  Lyons,  1838.  Chevalier  of 
the  Legion  of  Honor,  1870.  Studied  at  the  Academy  of  Lyons.  He 
went  to  Paris  and  made  his  debut  at  the  Salon  of  1864.  So  great  was 
his  success  that  he  was  decorated  six  years  after  his  first  exhibition. 
His  subjects  are  mostly  kitchen  interiors,  sea-fish,  and  portraits.  In 
1876  he  exhibited  at  the  Salon,  "A  Woman  of  Pollet  at  Dieppe"  ; 
in  1875,  "  The  Pig"  and  "Armures  "  (at  the  Luxembourg)  ;  in  1874, 
"A  Bit  of  the  Market";  in  1872,  "New  Year's  Day"  and  "The 
Kettle"  ;  in  1870,  "A  Corner  of  my  Studio"  and  "Sea-Fish"  (in 
the  Luxembourg) ;  in  1869,  "  After  the  Ball ";  in  1868,  "  Curiosities  " 
(in  the  Luxembourg)  and  "  Portrait  of  a  Fisherman."  In  1871  he 
exhibited  at  the  Royal  Academy,  London,  "  Luncheon."  At  the  Sa- 
lon of  1878  he  exhibited  "The  Helmet  of  Henry  II."  and  "A  Span- 
iard." 

"  Among  the  new  names  which  the  public  has  learned  this  year,  I  recommend  to  you 
especially  that  of  Vollon.  The  catalogue  does  not  tell  us  under  what  masters  he  has 
worked,  neither  from  what  studio  he  emerges,  armed  at  all  points.  If  spiritualism  was 
not  a  pure  absurdity,  I  should  believe  that  Chardin  had  come  back  at  night  to  give  les- 
sons to  this  young  man.  He  has  exhibited  two  pictures,  of  which  one  represents  the 
'  Interior  of  a  Kitchen,'  the  other,  a  monkey  surrounded  with  fruits  and  musical 
instruments.  The  two  subjects  are  treated  with  decision,  firmness,  and  a  freedom  al- 
ready masterly.  The  tones  are  just  and  true.  This  young  man  is  truly  strong.  If  I 
saw  in  him  only  a  hopeful  pupil,  I  should  not  cry  out  to  him  the  name  of  Chardin."  — 
Edmond  About,  Salon  de  1864. 

In  the  "  Gazette  des  Beaux- Arts"  of  July,  1878,  Roger  Ballu  praises 
the  work  of  Vollon,  "The  Helmet  of  Henry  II.,"  and  finally  says  :  — 

"It  is  not  an  exact  imitation,  a  faithful  copy,  made  at  the  expense  of  patience  by  a 
minute  and  skillful  brush  ;  it  is,  so  to  speak,  a  portrait ;  yes,  I  am  right,  a  portrait  of 
the  helmet  of  Henry  II.,  represented  with  the  physiognomy  of  an  object  of  ancient  art, 
and  that  charm  so  peculiar  to  the  taste  of  the  sixteenth  century.  In  truth,  the  amount 
of  real  talent  here  bestowed  is  not  to  be  appreciated,  and  I  am  convinced  that  in  this 
still-life  Vollon  has  equaled  Chardin." 


328     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Voltz,  Priedrich  Johann.  (Ger.)  Born  at  Nordlingen,  1817. 
Member  of  the  Academies  of  Berlin  and  Munich.  Boyal  Bavarian 
Professor.  Medals  at  Berlin,  and  the  great  Wiirtemberg  Art  Medal. 
Studied  at  the  Academy  of  Munich.  In  1843  he  went  to  Italy, 
where  he  remained  two  years.  His  specialty  is  in  representing  idyllic 
animal  pictures.  He  has  been  influenced  in  his  manner  and  color  by 
Schleich,  Piloty,  Spitzweg,  and  others  of  the  Munich  school.  He 
has  visited  most  of  the  art  cities  of  Europe,  and  is  au  fait  to  the 
progress  and  interests  of  the  art  world.  In  later  years  Voltz  has 
practiced  etching  and  lithographing.  At  the  National  Gallery,  Ber- 
lin, are  his  "  Menagerie "  and  "  Cows  Drinking."  At  the  Leipsiu 
Museum  there  is  a  characteristic  picture  by  Voltz.  At  Berlin,  in 
1876,  he  exhibited  two  cattle  pictures  and  an  "  Idyl."  At  the  Bos- 
ton Museum  there  was  shown  a  picture  by  Voltz,  belonging  to  Mr. 
H.  P.  Kidder.  It  represents  a  group  of  cattle  coming  over  a  hill. 
Mr.  T.  R.  Butler  of  New  York  has  in  his  collection  a  "  Landscape 
with  Cattle,"  by  this  artist. 

Von  Severdonck,  J.  (Belgian.)  Born  about  1825.  A  pupil  of 
Verboeckhoven,  with  whom  he  has  lived  in  Brussels,  for  many  years. 
He  occupies  a  studio  with  his  master,  and  is  said  to  do  the  greater 
part  of  the  mechanical  work  of  Verboeckhoven's  pictures.  Von 
Severdonck  himself  paints  small  landscapes  with  sheep,  and  some- 
times fowls  introduced  as  accessories  ;  they  are  painted  with  great 
care  and  tenderness,  are  agreeable  in  color,  and  truthful  in  drawing 
and  action.  They  are  in  many  fine  collections  in  America.  He  has 
painted  but  few  large  works.  He  sent  "  A  Cavalry  Charge  "  to  the 
Paris  Exposition  of  1878.  One  of  his  large  pictures,  a  landscape  with 
animals,  belongs  to  Mr.  Charles  G.  Woods  of  Boston. 

Voss,  Maria.  (Dutch.)  Of  Oosterbeck.  Medal  at  Philadelphia, 
where  she  exhibited  "  Still-Life."  Mr.  Weir  calls  her  picture  "  quite 
superior  to  anything  of  its  kind  in  the  Exhibition." 

Vriendt,  Julian  de.  (Belgian.)  Of  Antwerp.  At  the  Johnston 
sale  in  New  York,  1876,  «  The  Story  of  the  Battle  "  (21  by  26)  sold 
for  $  1,800.  To  the  Paris  Exposition  of  1878  he  contributed  six  por- 
traits. 

Vriendt,  Albrecht  de.  (Belgian.)  Knight  of  the  Order  of  Leo- 
pold. Medals  at  London  and  Vienna.  A  resident  of  Brussels.  At 
the  Munich  Exposition,  in  1870,  he  exhibited  "  Episodes  from  the 
Life  of  Charles  V."  At  Berlin,  in  1876,  "  Charles  V.  in  the  Cloister  of 
St.  Just."  To  the  Paris  Exposition  of  1878  he  sent  "  Charles  V.  at 
Yuste,"  "  Jacqueline  of  Bavaria  imploring  the  Pardon  of  her  Hus- 
band by  Philip  the  Good,"  and  "  The  Excommunication  of  Bouchard 
d'Anvers." 

Wach,  Karl  Wilhelm.  (Ger.)  Born  at  Berlin  (1787-1845). 
Royal  Professor  and  member  of  the  Academy  of  Berlin.  Court 
painter.    He  studied  at  Berlin  Academy.    Especially  excelled  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


329 


knowledge  of  perspective.  In  the  war  of  1813  he  served  as  an  officer. 
Afterwards  at  Paris  he  studied  under  David  and  Gros.  In  1817  he 
went  to  Italy.  His  power  of  application  was  remarkable,  —  in  three 
months  he  made  more  than  one  hundred  drawings  from  pictures,  — 
but  his  individual  style  was  not  changed  by  this  study.  In  1819  he 
returned  to  Berlin,  and  established  an  atelier  after  the  French  man- 
ner, where  he  received  large  numbers  of  pupils,  and  became  the  most 
distinguished  teacher  of  his  time.  He  painted  religious  and  his- 
torical subjects  and  portraits.  He  executed  two  altar-pieces  for  the 
Peter- Paul  Church  in  Moscow.  At  the  National  Gallery,  Berlin,  are 
his  "  Psyche  surprised  by  Cupid,"  "  A  Madonna,"  and  "  Studies  of 
Heads." 

Wagner,  Ferdinand.  (Ger.)  Born  at  Schwabmiinchen,  1820. 
Has  received  the  freedom  of  the  city  of  Augsburg.  Studied  under 
Cornelius  and  Schnorr.  Paints  historical  subjects.  He  executed 
some  frescos  at  the  church  of  Konigsbrunn,  —  others  in  the  govern- 
ment buildings  at  Constance  are  quite  famous.  He  has  also  painted 
decorative  works  in  Augsburg,  Breslau,  Meiningen,  etc.  [Died,  1880.] 

Wagner,  Alexander.  (Hungarian.)  Born  in  Pesth,  1838.  Pro- 
fessor at  Munich.  Medal  at  Philadelphia.  Studied  under  Piloty  at 
Munich.  Was  appointed  professor  when  but  twenty-eight  years  old. 
Among  the  more  important  works  of  Wagner  are,  "  An  Episode  of 
the  Siege  of  Belgrade"  and  a  portrait  of  the  Empress,  both  in  the 
Museum  at  Pesth  ;  "  Departure  of  Queen  Isabella  Zapolya,"  belonging 
to  the  Hungarian  Academy  ;  "  Baptism  of  Stephen  I.,  King  of  Hun- 
gary "  ;  two  frescos  at  the  National  Museum  in  Munich,  called  "  En- 
trance of  Gustavus  Adolphus  into  AscharTenburg  "  and  the  "  Marriage 
of  Otho  the  Illustrious"  ;  at  Pesth,  a  fresco,  "The  Tournament  of 
Matthias  Corvinus,"  "  Hussar-Life,"  and  "  Madchenraub."  Wag- 
ner is  best  known  in  America  by  his  "  Roman  Chariot-Race,"  photo- 
graphs of  which  were  familiar  before  his  second  work,  of  the  same 
subject,  was  seen  at  the  Philadelphia  Exposition.  This  is,  by  general 
consent,  considered  inferior  to  the  first  and  smaller  work,  which  was 
so  admired  at  Vienna,  and  is  now  owned  in  England.  "  The  Chariot- 
Race  "  was  followed  by  "  Racing  among  the  Horse-Herders  of  Debrec- 
zin."  This  city  is,  next  to  Pesth,  the  leading  one  of  Hungary,  and 
the  herders  in  that  part  of  the  country  are  famed  for  their  skill  in 
lassoing  and  taming  the  wild  horses  of  the  Putzta. 

"  Alexander  Wagner  loves  his  technique,  but  his  ruling  passion  is  to  get  at  the  mingled 
physical  and  spiritual  life,  the  action,  the  soul  of  a  conception,  and  he  subordinates  all 
else  to  its  portrayal."  —  Art  Journal,  April,  1877. 

•  Waldo,  Samuel.  (Am.)  A  native  of  Connecticut  (1783  -  1861). 
He  received  his  first  instructions  in  art  in  his  native  State,  but  painted 
for  some  time  in  Charleston,  S.  C.  In  1806  he  went  to  London,  and 
was  admitted  into  the  small  but  select  circle  of  American  artists  then 
in  the  English  metropolis.     After  painting  portraits  m  London  for 


330     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


three  years,  he  returned  to  the  United  States  in  1809  and  opened  a 
studio  in  New  York,  where  the  balance  of  his  professional  life  was 
spent.  He  devoted  himself  to  portrait-painting  with  marked  success. 
The  New  York  Historical  Society  owns  his  likeness  of  Peter  Remsen, 
and  several  portraits  of  ex-mayors  of  the  city  of  New  York,  by  Waldo, 
are  in  the  City  Hall  there. 

Waldorp,  Antoine.  {Dutch.)  Born  at  Basch  (1803-1867). 
Chevalier  of  the  Lion  of  the  Netherlands,  the  Crown  of  Oak,  and  the 
Order  of  Leopold.  He  at  first  painted  decorations,  but  devoted  him- 
self later  to  views  of  cities  and  marines. 

Walker,  Frederick,  A.  R.  A.  {Brit.)  Born  in  London  (1840- 
1875).  Entered  the  office  of  an  architect  at  the  age  of  sixteen,  be- 
ginning the  study  of  art  a  year  later,  soon  after  which  he  entered  the 
Royal  Academy,  London.  His  earliest  efforts  were  made  as  a  de- 
signer on  wood,  showing  decided  genius  in  his  illustrations  of  current 
literature,  furnishing  the  drawings  for  Thackeray's  "  Adventures  of 
Philip,"  and  other  books.  He  first  exhibited  in  colors,  "  The  Lost 
Path,"  at  the  Royal  Academy,  in  1863.  In  1864  he  was  elected  an 
Associate  of  the  Water-Color  Society,  and  a  full  Member  in  1867, 
making  rapid  progress  in  that  branch  of  the  profession,  and  exhibiting 
frequently  such  works  as  his  "  Fishmonger's  Shop,"  "  Spring,"  "  Au- 
tumn," "  Stream  in  Invernesshire,"  "  Fate,"  "  Well-Sinkers,"  etc. 
In  oil,  also,  he  was  quite  successful,  sending  to  the  Royal  Academy,  in 
1868,  "  The  Vagrants  in  the  Glen  "  ;  in  1869,  "  The  Old  Gate  "  ;  in 
1870,  "  The  Plow  "  ;  in  1871,  "  At  the  Bar"  ;  in  1872,  "  The  Harbor 
of  Refuge  "  ;  in  1875,  "  The  Right  of  Way,"  his  last  picture.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1870.  About  one 
hundred  and  fifty  of  his  works  in  oil  and  water-colors  were  exhibited 
in  London  after  his  death  in  1875. 

"  Mr.  Walker  is  especially  fond  of  out-door  light,  air,  dew,  sunshine,  and  the  freshness 
of  morning  among  spring  leaves  and  flowers.  The  shrubs,  annuals,  and  budding  plants 
of  an  English  garden  have  probably  never  before  been  painted  with  so  much  loving  sim- 
plicity and  harmonious  freshness  of  color."  —  Sidney  Colvin,  in  English  Painters  of  the 
Present  Day,  1871. 

"Walker's  'Right  of  Way'  is  a  child  frightened  by  sheep  while  crossing  a  meadow, 
full  of  charming  expression  of  the  poetry  of  nature,  and  softly  and  deftly  handled  The 
painter  is  one  of  considerable  repute  in  this  special  line  of  art."  —  Art  Journal,  June, 
1875. 

"The  predominating  qualities  of  Walker's  designs  for  book  illustration  are  facility  of 
invention  combined  with  great  tenderness  and  grace  in  drawing,  and  an  innate  percep- 
tion of  individual  character  Of  what  may  be  termed  idyllic  painting  Walker  was 

unquestionably  one  of  the  ablest  representatives.  Defects  of  style  were  occasionally 
to  be  noticed,  but  they  were  in  great  measure  redeemed  by  grace  of  composition."  — 
Art  Journal,  November,  1876. 

Wallace,  William.  {Brit.)  Born  in  Falkirk  (1801 -1866).  Por- 
trait-painter. He  practiced  his  profession  in  Edinburgh  until  1833  or 
'34,  when  he  opened  a  studio  in  Glasgow.  His  work  is  still  highlv 
regarded  in  his  native  country. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  331 


Waller,  Prank.  (Am.)  Born  in  New  York,  1842.  He  received 
his  first  lessons  in  drawing  while  a  pupil  of  the  New  York  Free  Acad- 
emy. Between  the  years  1863  and  '68  he  was  in  business  in  his  native 
city,  drawing  with  pen  and  ink,  and  painting  in  oil  in  his  leisure 
hours.  He  went  to  Europe  in  1870,  when  he  entered  the  studio  of 
J.  G.  Chapman  in  Rome,  and  first  resolved  to  adopt  art  as  a  profession. 
In  1871  he  returned  to  New  York  ;  but  again  crossed  the  ocean  in 
1872,  making  many  studies  in  Egypt  for  future  works.  On  his  Nile 
trip  he  was  accompanied  by  the  late  Edwin  White.  Since  1874  he 
has  studied  at  the  Art  Students'  League,  New  York.  He  has  been 
its  Treasurer,  and  was  its  first  President,  holding  the  office  some  years. 
Among  his  works  are,  "  Temple  at  Biggeh,  Philee  in  the  Distance," 
"  Tombs  of  the  Califs,  near  Cairo,"  "  On  the  Desert,"  "  Santa  Maria 
del  Sasso,  Lake  Maggiore  "  (belonging  to  Parke  Godwin),  "  Ruins  near 
Cairo,"  "  Interior  of  a  Studio,"  etc.,  views  of  Egypt  being  a  specialty 
with  him.  He  exhibits  frequently  at  the  National  Academy,  New 
York. 

Walter,  Thomas  U.  (Am.)  Born  in  Philadelphia.  1804.  He 
studied  architecture  in  his  native  city,  under  Strickland,  and  began 
the  practice  of  the  profession  in  1830.  Among  the  public  buildings 
designed  by  Walter  are  the  Philadelphia  County  Jail,  in  1831  ;  Girard 
College,  in  1833  ;  the  extension  of  the  Capitol  at  Washington,  the 
iron  dome  of  the  Capitol,  the  new  Treasury  Building,  the  Con- 
gressional Library,  and  the  wings  of  the  Post-Office  and  the  Patent 
Office.  He  was  at  one  time  Professor  of  Architecture  in  Franklin 
Institute. 

Walton,  Elijah.  (Brit.)  A  contemporary  English  water-color 
painter,  whose  favorite  subjects  are  mountain-tops  wrapt  in  mist,  and 
often  covered  with  snow.  There  was  an  exhibition  of  his  works, 
numerous  drawings  in  water-colors,  and  a  few  pictures  in  oil,  in  Lon- 
don, in  the  summer  of  1874,  including  "  Dahabeah,"  "  Valley  of  the 
Wandering,"  "  Mount  Sinai "  (belonging  to  Dr.  Blackie),  "  Bedouins 
and  Dromedaries,"  etc.    [1833  - 1880.] 

"  Elijah  Walton  has  shown  himself  equally  able  to  deal  with  the  ruddy  glow  of  the  hot 
East,  and  with  the  sunlit  aspect  of  the  Western  glaciers  and  snow-covered  mountains,  and 
while  he  is  truthful  in  his  delineation  of  the  local  characteristics  of  both  the  West  and 
East,  the  unvarying  sameness  of  his  system  of  treatment  establishes  a  strangely  close 
connection  between  the  two.  In  his  Egyptian  and  Arabian  scenes  Mr.  Walton's  peculiari- 
ties are  productive  of  the  happiest  effect ;  and  he  seems  to  have  entered  into  all  of  the 
associations  of  the  scene  with  an  unusual  depth  of  feeling."— A  rt  Journal,  August,  1874. 

Wappers,  Egide-Charles-Gustave,  Baron.  (Belgian.)  Born  at 
Antwerp  (1803  -  1875).  Painter  to  Leopold  I.  Officer  of  the  Legion 
of  Honor.  Pupil  of  the  Academy  of  Antwerp,  and  of  Herreyns  and 
Van  Bree.  He  went  to  Paris,  and  adopted  the  manner  of  the  ro- 
mantic school.  From  1846  to  '53  he  was  Director  of  the  Academy 
of  Antwerp,  and  resigned  the  office,  in  which  lie  was  followed  by  De 
Keyser.    His  pictures  are  mostly  of  historic  subjects,  such  as  "  The 


332     AMTISTS  OF  THE  NINETEENTH  CENTURY. 


Devotion  of  the  Burgomasters  of  Leyden,"  "  Charles  IX.  during  St. 
Bartholomew's  Massacre,"  "  Peter  the  Great  with  the  Ship-Builders 
of  Saardam,"  "  The  Defence  of  Rhodes  by  the  Knights  of  Saint-John 
of  Jerusalem  "  (for  the  Gallery  of  Versailles),  "  The  Great  Fishing  at 
Antwerp  "  (for  Queen  Victoria),  etc.  He  also  made  numerous  por- 
traits. Mr.  Probasco  of  Cincinnati  has  in  his  collection  the  "  Neuvaines 
of  the  Family  of  Count  Egmont  previous  to  his  Execution  by  the 
Duke  of  Alva,"  painted  in  1866. 

Ward,  Edward  M.,  R.  A.  (Brit.)  Born  in  London,  1816.  He 
entered  the  schools  of  the  Royal  Academy  in  1835.  Went  to  Rome 
in  1836,  studying  in  that  city  for  three  years,  winning  a  medal  in  the 
Academy  of  St.  Luke  for  historical  composition  in  1838.  He  returned 
to  England  in  1839,  exhibiting  his  first  picture,  "  Cimabue  and  Giotto," 
the  same  year.  In  1840  he  sent  to  the  Royal  Academy  "  King  Lear," 
and  in  1843,  to  the  British  Institution,  "  Napoleon  in  the  Prison  of 
Nice,"  which  was  subsequently  the  property  of  the  Duke  of  Welling- 
ton. Among  his  early  works  are,  "  Dr.  Johnson  reading  the  Manu- 
script of  the  Vicar  of  Wakefield,"  "  The  Early  Life  of  Goldsmith," 
"Dr.  Johnson  in  the  Antechamber  of  Lord  Chesterfield's  House," 
"  Lord  Clarendon's  Disgrace,"  in  1846  ;  "  The  South  Sea  Bubble,"  in 
1847  ;  "  London  during  the  Great  Fire,"  in  1848  ;  "  Charles  Second 
and  Nell  Gwynn,"  in  1849  ;  "  Daniel  Defoe  with  the  Manuscript  of 
Robinson  Crusoe,"  in  1850  ;  "Isaac  Walton  Angling,"  in  1851  ;  "The 
Royal  Family  of  France  in  the  Temple,"  in  1852  ;  "Charlotte  Corday 
going  to  Execution  "  and  "  The  Execution  of  Montrose,"  in  1853  ; 
and  "The  Last  Sleep  of  Argyle,"  in  1854.  In  1856,  when  he  was 
made  Royal  Academician,  having  been  elected  an  Associate  ten  years 
previously,  he  exhibited  "  Marie  Antoinette  parting  with  her  Son." 
In  1858,  by  Royal  command,  he  painted  "  Victoria  visiting  the  Tomb 
of  Napoleon  I."  and  "  The  Investment  of  the  Garter  upon  Napo- 
leon III."  His  "  Antechamber  at  Whitehall  during  the  Dying  Mo- 
ments of  Charles  II."  was  exhibited  at  the  Royal  Academy  in  1861 ; 
"Charlotte  Corday  in  Prison,"  in  1863;  "  Thackeray  in  his  Study," 
in  1864  ;  "The  Night  of  Rizzio's  Murder,"  in  1865  ;  "Amy  Robsart 
and  Leicester,"  in  1866  ;  "Juliet  in  Friar  Laurence's  Cell,"  in  1867  ; 
"  The  Marriage  of  the  Duke  of  York  to  Lady  Anne  Mowbray,"  in 
1868  ;  "Beatrice,  Much  Ado  about  Nothing,"  in  1869  ;  "Judge  Jef- 
freys and  Richard  Baxter,"  in  1870  ;  "Anne  Boleyn  at  the  Queen's 
Stairs,  Tower,"  in  1871  ;  "The  Quarrel  between  Captain  Absolute 
and  Lydia  Languish,"  in  1872  ;  "  The  Eve  of  St.  Bartholomew"  and 
"  The  Landing  of  Charles  Second  at  Dover,"  in  1873 ;  "  Midsummer," 
"  Christmas,"  and  "  Charles  Second  and  Lady  Rachel  Russell,"  in 
1874  ;  "  Lady  Clara  Vere  de  Vere  "  and  "  The  Orphan  of  the  Temple," 
in  1875  ;  "A  Normandy  Fish- Market,"  in  1876  ;  "  Forbidden  Fruit," 
"William  Third  at  Windsor,"  and  "Forgotten,  —  Court  of  Charles 
Second,"  in  1877.    He  contributed  both  to  Philadelphia  in  1876,  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  333 


to  Paris  in  1878.  Mr.  Ward  has  been  a  very  prolific  painter,  sending 
every  year  five  or  six  elaborate  works  to  the  Royal  Academy.  Many 
of  his  paintings  have  been  engraved.  His  "  Dr.  Johnson  in  the  Ante- 
room of  Lord  Chesterfield,"  "The  Disgrace  of  Lord  Clarendon,"  "South 
Sea  Bubble,"  and  "  James  Second  receiving  the  News  of  the  Landing 
of  the  Prince  of  Orange"  are  the  property  of  the  nation,  in  the 
National  Gallery.  He  contributed  eight  pictures  in  fresco  for  the  cor- 
ridor of  the  House  of  Commons.    [Died,  1879.] 

"In  his  'Charlotte  Corday'  [R.  A.,  1863]  Mr.  Ward  has  attempted  a  subject  which 
hardly  any  power  in  art  could  render  pleasing  ;  and  conscientiously  as  hf  has  studied 
the  period,  one  cannot  help  feeling  that  these  decisively  foreign  historical  subjects  are 
dangerous  ground.  ....  In  his  larger  picture,  'The  Foundlings  visiting  Hogarth's 
Studio,'  the  artist  has  selected  what  the  result  proves  to  be  a  better  field  for  the  exer- 
cise of  his  inventive  powers.  The  execution  is  indeed  hard  and  grating ;  it  is  almost 
like  wind-instruments  played  out  of  tune  ;  but  the  vivacity  of  the  children,  and  the 
pretty,  natural  action,  shown  in  some  of  their  figures,  would  render  the  design  attractive 
in  print. "  —  Palgrave's  Essays  on  Art. 

"  This  picture  is  a  most  masterly  performance,  '  Eve  of  St.  Bartholomew '  [R.  A.,  1873]. 
Never  did  Mr.  Ward  take  up  a  subject  which,  according  to  our  idea,  had  less  promise, 
and  never  has  he  made  more  of  a  passage  he  has  taken  in  hand."  —  Art  Journal,  June, 
1873. 

"The  artist  has  made  a  touching  picture  ['  William  III.  at  Windsor,'  R.  A.,  1877],  like 
many  others  from  his  hands  calculated  to  appeal  to  the  common  human  heart.  He  has 
told  the  story  very  pleasantly.  We  need  hardly  say  that  the  walls,  near  and  remote, 
which  include  a  portion  of  the  chapel,  and  the  costume  of  the  guard  of  the  King,  are 
perfect.  No  painter  takes  greater  delight  and  pains  to  ascertain  the  facts  of  history 
when  he  makes  history  his  study.  The  whole  scene  is  compact  and  wisely  arranged."  — 
London  Standard,  May,  1877. 

"  Mr  Ward  has  realized  an  incident  which  actually  took  place,  with  convincing  fidel- 
ity ['Last  Interview  between  Napoleon  I.  and  Queen  Louisa  of  Prussia,' R.  A.,  1877]. 
Only  the  back  of  the  Emperor  is  seen,  but  his  unheroic  figure,  his  head  sunk  between 
his  shoulders,  and  his  hands  clasped  behind  his  back,  are  very  characteristic  ;  and  the 
figure  of  Talleyrand,  who  looks  over  his  shoulder  at  the  Queen,  with  an  air  of  exultation, 
is  scarcely  less  good.  The  portraits  have  evidently  been  taken  from  authentic  sources, 
and  all  the  details  of  costume  and  accessories  are  scrupulously  correct.  The  artist  never 
spares  either  time  or  trouble  to  secure  absolute  accuracy  in  these  matters."  —  London 
Globe,  May,  1877. 

Ward,  Henrietta.  (Brit.)  Wife  of  Edward  M.  Ward,  R.  A.,  be- 
longing by  birth  to  an  artistic  family,  her  father  being  Raphael  Ward, 
an  engraver,  and  her  grandfather,  James  Ward,  R.  A.,  one  of  the  best 
animal-painters  of  England.  Mrs.  Ward,  in  late  years,  has  been  a 
regular  contributor  to  the  Exhibitions  of  the  Royal  Academy.  In 
1860  she  sent  "  The  First  Step  in  Life  "  ;  in  1862,  "  Despair  of  Queen 
Henrietta  Maria  at  the  Death  of  Charles  I."  ;  in  1863,  "  Mary,  Queen 
of  Scots,  quitting  Sterling"  ;  in  1864,  " The  Tower,  ay,  the  Tower ! " ; 
in  1866,  "  Palissy  the  Potter  "  ;  in  1867,  "  Scene  from  the  Childhood 
of  Joan  of  Arc";  in  1868,  "Lady  Jane  Grey";  in  1869,  "Scene 
from  the  Childhood  of  the  Old  Pretender";  in  1870,  "Going  to 
Market,  Picardy"  ;  in  1871,  "The  Fortunes  of  Little  Fritz"  ;  in 
1872,  "The  Queen's  Lodge,  Windsor,  in  1786";  in  1873,  "Chat- 


334     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


terton"  ;  in  1874,  "  The  Defence  of  Lathom  House"  ;  in  1875,  "  The 
Poet's  First  Love";  in  1876,  "The  Ugly  Duckling";  in  1877, 
"  Princess  Charlotte  of  Wales"  ;  in  1878,  "  One  of  the  Last  Lays  of 
Robert  Burns,"  several  of  which  were  at  Philadelphia  in  1876  and  at 
Paris  in  1878. 

"  Many  traces  of  this  artist's  manner  [E.  M.  Ward's]  are  naturally  seen  in  Mrs. 
Ward's  picture,  '  Mary  of  Scotland  giving  Iter  Infant  to  the  Charge  of  Lord  Mar'  [R.  A., 
1863].  This  work  is  finely  painted,  and  tells  its  tale  with  clearness."— Palgrave's 
Essays  on  Art 

"  Mrs.  Ward  is  a  pleasantly  gifted  and  accomplished  painter  of  genre,  especially  in  its 
relation  to  child-life.  Her  '  Little  Fritz '  and  '  The  First  Interview  between  Josephine 
and  the  King  of  Rome'  [R.  A.,  1871]  are  instances  in  point."  — Mrs.  Tytler's  Modern 
Painters. 

"'The  Poet's  First  Love'  [R.  A.,  1875],  by  Mrs.  Ward,  is  an  episode  of  child-life, 
painted  with  considerable  artistic  finish  and  care,  and  betokening  many  evidences  of  skill 
in  the  department  of  landscape-painting."  —  Art  Journal,  July,  1875. 

Ward,  John  Q.  A.,  N.  A.  (Am.)  Born  in  the  State  of  Ohio,  1830. 
Displayed  a  talent  for  plastic  art  at  an  early  age.  Studied  under  H. 
K.  Brown,  remaining  his  pupil  for  six  years,  1850-  56.  He  modeled 
in  Washington  during  the  sessions  of  Congress  for  two  winters.  In 
1857  he  made  his  first  sketch  for  "  The  Indian  Hunter,"  now  in  Central 
Park,  New  York  ;  subsequently  visiting  the  Indian  country  in  the  far 
"West  in  order  to  study  his  subject  in  the  aboriginal  state.  In  1861 
he  opened  a  studio  in  New  York,  was  elected  an  Associate  of  the  Na- 
tional Academy  in  1862,  Academician  in  1863,  and  President  in  1874. 
In  1866  he  executed  the  group  of  statuary  (now  in  the  Public  Garden, 
Boston)  in  honor  of  the  discovery  of  anaesthetics,  and  in  1867  he  pre- 
sented his  design  for  the  Shakspere  statue  in  Central  Park,  N.  Y. 
Among  Ward's  portrait  busts  are  those  of  Alexander  H.  Stephens, 
Vice-President  Hamlin,  Dr.  Valentine  Mott,  Joshua  Giddings,  James  T. 
Brady,  etc.,  and  a  full-length  statue  of  Commodore  Perry,  erected  by  his 
son-in-law,  August  Belmont,  in  Newport,  R.  I.  His  "  Indian  Hunter  " 
and  "  Freedman,"  both  in  bronze,  were  at  the  Paris  Exposition  of 
1867,  and  in  the  National  Academy,  New  York,  the  next  winter. 
The  "  Freedman  "  is  now  on  the  steps  of  the  Capitol  at  Washington. 
In  the  Capitol  at  Washington  he  has  also  a  bronze  statue  of  Putnam, 
executed  for  the  State  of  Massachusetts,  and  he  is  the  author  of  the 
Seventh  Regiment  statue  in  Central  Park,  New  York. 

"  A  naked  slave  has  burst  his  shackles,  and  with  uplifted  face  thanks  God  for  freedom 
[Ward's  '  Freedman  '].  It  symbolizes  the  African  race  of  America,  the  birth  of  a  new 
people  within  the  ranks  of  Christian  civilization.  We  have  seen  nothing  in  our  sculpture 
more  soul-lifting  or  more  comprehensively  eloquent."  —  Jarves,  Art  Idea. 

"  Although  Mr.  Ward  has  never  practiced  modeling  in  an  academy  or  foreign  or  famed 
studio,  he  has  labored  with  rare  assiduity  to  master  the  principles  of  his  art.  He 
understands  proportion  and  anatomical  conditions.  His  figure  of  Shakspere  stands 
firmly  and  naturally  on  its  feet,  and  is  harmoniously  true  to  the  conditions  and  relations 
of  the  human  form."  —  Tuckerman's  Book  of  the  Artists. 

Ward,  Edgar  M.,  N.  A.  (Am.)  Born  at  Urbana,  Ohio. 
Younger  brother  of  J.  Q.  A.  Ward.    He  has  studied  in  Paris,  under 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  335 


Cabanel,  spending  the  better  part  of  his  professional  life  on  the  Conti- 
nent. He  painted  in  the  studio  of  his  "brother  in  New  York  during 
the  winter  of  1876  and  '77.  He  is  an  Associate  of  the  National  Acad- 
emy, exhibiting  there  and  in  the  Paris  Salon.  His  "  Brittany  Wash- 
erwomen "  (belonging  to  Robert  Gordon)  was  at  the  Philadelphia 
Exhibition  of  1876.  His  "  Sabot-Maker,"  "  Venetian  Water-Carriers," 
and  "  Washing  in  Brittany  "  (the  last  belonging  to  J.  H.  Sherwood) 
were  at  Paris  in  1878.    [N.  A.,  1883.] 

"  Ward  has  studied  conscientiously  and  in  a  severe  school,  and  the  character  of  his 
work,  in  almost  every  light  in  which  it  may  be  viewed,  will  stand  the  test  of  comparison 
with  the  pictures  of  the  leading  artists  represented  in  the  Exhibition  The  color- 
ing of  the  works  ['  Young  Housekeepers  in  Brittany '  and  '  Washing  in  the  Brook,'  N.  A. , 
1875]  is  quiet  and  unobtrusive,  and  it  is  evident  the  artist  has  simply  painted  what 
he  saw,  and  has  introduced  no  sensational  features  to  secure  momentary  applause."  — 
Art  Journal,  May,  1875. 

Warner,  Olin  L.  (Am.)  Born  at  Suffield,  Ct.,  1844.  He  stud- 
ied sculpture  in  l'Ecole  des  Beaux- Arts,  Paris,  under  Jouffroy,  and 
afterwards  in  the  studio  of  Carpeaux,  spending  his  professional  life  in 
Paris  and  New  York.  He  is  a  member  of  the  Society  of  American 
Artists.  Among  his  more  important  works  are  a  statuette  entitled 
"  May,"  exhibited  at  the  National  Academy  in  1873  (now  owned  by 
Archer  and  Pancoast,  New  York),  a  colossal  medallion  of  Edwin  For- 
rest (at  the  Centennial  Exhibition  of  1876),  a  bust  of  President  Hayes 
(belonging  to  the  Union  League  Club,  New  York),  and  a  statuette  in 
marble  called  "  Night." 

Warren,  Henry.  (Brit.)  Born  in  London,  1798.  He  began  his 
art  studies  as  a  sculptor,  under  Nollekens,  about  1816  ;  later,  he 
turned  his  attention  to  painting,  entering  the  schools  of  the  Royal 
Academy.  He  exhibited  for  some  years  in  oil,  but  joined  the  Insti- 
tute of  Painters  in  Water-Colors  early  in  its  organization,  and  has 
since  devoted  himself  entirely  to  that  branch  of  his  profession,  and 
with  marked  success.  He  was  for  some  time  President  of  the  Insti- 
tute, and  has  been  Honorary  President  for  many  years.  Among  his 
drawings  are,  "  Cottages  at  Linton,  Cambridgeshire,"  painted  in  1815, 
and  many  others,  some  of  which  have  brought  very  large  prices.  He 
has  exhibited  rarely  of  late  years.     [Died,  1879.] 

Warren,  Edmond  G.  (Brit.)  Son  of  Henry  Warren,  a  pupil  of 
his  father,  and  for  some  years  an  active  member  of  the  Institute  of 
Painters  in  Water-Colors,  exhibiting,  among  others,  "  Summer  Morn- 
ing on  the  River  Arun,"  "  A  Water  Picnic,"  "  Waiting  at  the  Lock," 
"  Epping  Forest,"  "  A  Rural  Home,"  "  Getting  in  the  Corn,"  and 
(in  1878)  "  Summer  Shade,"  "  A  Forest  Clearing,"  "  Under  the  Shady 
Beeches,"  etc. 

Wasson,  George  S.  (Am)  Born  at  Groveland,  Mass.,  1855. 
He  studied  at  the  Royal  Academy  at  Stuttgart  from  1872  to  '75,  and 
received  a  medal  for  drawing.  He  paints  marine  views  and  land- 
scapes, and  exhibits  at  the  Boston  Art  Club.  He  has  a  studio  at 
present  in  Boston. 


336     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Waterhouse,  Alfred,  A.  R.  A.  (Brit.)  Born  near  Liverpool, 
1830.  Received  his  early  training  in  the  office  of  an  architect  in 
Manchester,  where  he  began  his  professional  career.  Studied  fo? 
some  time  on  the  Continent,  and  was  the  successful  competitor  for 
the  Manchester  Assize  Courts  in  1859,  building  also  in  that  city  the 
Salford  Gaol,  Owens  College,  and  the  Town  Hall,  commenced  in 
1866.  Among  his  other  public  buildings  are  the  new  portions  of 
Baliol  College,  Oxford,  and  of  Cams  and  Pembroke  Colleges,  Cam- 
bridge ;  Lime  Street  Station  Hotel,  Liverpool ;  new  Natural  History 
Museum,  South  Kensington  ;  new  University  Club,  and  many  coun- 
try-houses throughout  England.  In  1867  he  was  made  a  member  of 
the  Academy  of  Vienna,  won  the  Grand  Prix  at  the  Paris  Interna- 
tional Exhibition  the  same  year,  has  been  for  some  time  one  of  the 
Vice-Presidents  of  the  Royal  Institute  of  British  Architects,  and  was 
elected  an  Associate  of  the  Royal  Academy  in  1878. 

Waterman,  Marcus,  A.  N.  A.  (Am.)  Born  in  Providence,  R.  I., 
and  educated  at  Brown  University.  He  worked  at  his  profession  for 
some  time  in  New  York,  opening  a  studio  in  Boston  in  1874.  A  col- 
lection of  his  works  was  exhibited  and  sold  in  Boston  in  the  spring 
of  1878,  previous  to  his  departure  for  Europe.  He  is  an  Associate  of 
the  National  Academy,  and  a  member  of  the  Artists'  Fund  and  Ameri- 
can Water-Color  Societies.  His  "  Gulliver  in  Liliput "  was  at  the 
Centennial  Exhibition  at  Philadelphia  in  1876. 

Watson,  John  D.  (Brit.)  Born  in  Yorkshire,  1832.  He  was  a 
student  of  the  Manchester  Academy  of  Design,  and,  later,  of  the  Royal 
Academy,  London.  He  first  exhibited  at  the  Royal  Academy,  in  1853, 
"  An  Artist's  Study,"  and  his  pictures  since  have  frequently  been  seen 
on  its  walls;  among  others,  "Woman's  Work,"  "Thinking  It  Out," 
"  Saved,"  "  The  Stolen  Meeting,"  "  The  Plague  of  her  Life,"  "  The 
Old  Clock,"  "  The  Gleaner's  Harvest,"  etc.  He  has  contributed  also, 
regularly,  to  the  exhibitions  of  the  Society  of  Painters  in  Water- 
Colors,  of  which  he  was  made  an  Associate  in  1865,  and  a  full  Mem- 
ber in  1870.  Among  his  drawings  in  this  medium  are,  "The  Duet," 
"  The  Cottage  Door,"  "  A  Gentleman  of  the  Road,"  "  A  Chat  by  the 
Way,"  "  The  Village  Stream,"  "  The  Swineherd,"  "  The  Clandestine 
Marriage,"  and  many  more. 

He  received  a  medal  at  the  Vienna  Exposition  of  1873,  to  which  he 
sent  "  The  Poisoned  Cup."  To  Paris,  in  1878,  he  sent  "  The  Gleaner's 
Harvest,"  "  Only  Been  with  a  Few  Friends  "  (in  oil),  "  Stolen  Marriage," 
"  Book  Lore,"  etc.  He  has  been  successful  as  an  illustrator  of  maga- 
zines and  books,  and  has  made  drawings  for  holiday  editions  of  such 
volumes  as  "  Robinson  Crusoe  "  and  "  The  Pilgrim's  Progress,"  which 
are  very  popular. 

Watson,  Thomas  H.  (Brit.)  Born  in  1839.  Educated  at  the 
Royal  Academy,  he  received  several  medals  for  architectural  drawings, 
and  was  awarded  the  "  first  annual  traveling  studentship  "  in  1863. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  337 


He  has  furnished  designs  for  several  important  public  and  private 
buildings  in  Great  Britain,  and  was  elected  President  of  the  British 
Architectural  Association  in  1871. 

Watt,  James  Henry.  (Brit.)  (1799-1867.)  A  pupil  and  assist- 
ant of  Charles  Heath.  Resided  in  London,  and  executed  many  well- 
known  plates  after  Landseer,  Eastlake,  Leslie,  and  other  modern 
painters. 

Watter,  Josef.  (Bavarian.)  An  artist  of  the  modern  realistic 
school  of  Munich.  Among  his  works  are,  "In  a  Bavarian  Stage- 
Coach,"  "  On  the  Edge  of  a  Wood,"  "  Ann,  is  it  you  ? "  etc. 

Watts,  George  F.,  R.  A.  (Brit.)  Born,  1820.  First  exhibited  at 
the  Royal  Academy  in  1837.  Received  a  prize  of  £  300  for  a  cartoon, 
"  Caractacus,"  and  £  500  for  his  "  Alfred  inciting  the  Saxons  to  Mari- 
time Enterprise,"  from  the  Commissioners  for  the  Decoration  of  the 
Houses  of  Parliament  in  1843.  He  painted  also  "  St.  George  and  the 
Dragon."  at  Westminster  Palace,  and  a  large  fresco  in  the  new  Hall 
of  Lincoln's  Inn.  Among  his  most  successful  portraits  are  those  of 
Tennyson  (1862),  Gladstone  (1865),  Duke  of  Argyle  (1860),  Dean  of 
Westminster  (1867),  J.  E.  Millais  and  Frederick  Leighton  (1871),  Rev. 
James  Martineau  and  John  Stuart  Mill  (1874).  Among  his  ideal 
and  mythological  works  may  be  mentioned,  "The  Window-Seat" 
and  "  Sir  Galahad  "  at  the  Royal  Academy  in  1862  ;  "  Virginia  "  and 
"Ariadne,"  in  1863;  "Esau,"  in  1865;  and  " Thetis,"  in  1866.  In 
1867,  when  he  was  elected  an  Associate  of  the  Royal  Academy, 
he  contributed  "A  Lamplight  Study"  ;  and  in  1868,  when  he  was 
raised  to  the  rank  of  Academician,  "  The  Wife  of  Pygmalion  "  and 
"  The  Meeting  of  Jacob  and  Esau."  In  1869  he  sent  "  The  Return  of 
the  Dove"  and  "The  Red  Cross  Knight  and  Una";  in  1870,  "Daphne"; 
in  1873,  "  The  Prodigal";  in  1875,  "  Dedicated  to  all  the  Churches  "; 
in  1876,  "By  the  Sea,  — a  Study  ";  in  1877,  "The  Dove";  in  1878, 
*'  Britomart  and  her  Nurse."  He  has  contributed  several  portraits 
and  ideal  figures  to  the  Grosvenor  Gallery.  His  "  Love  and  Death," 
"  Esau,"  and  a  portrait  of  Herr  Joachim  and  one  of  Robert  Browning 
were  at  Paris  in  1878. 

"As  a  real  master  in  tender  coloring  and  admirable  delicacy  of  touch,  Mr.  Watts  does 
his  gifts  better  justice  in  the  beautiful  girl's  head  named  'Choosing'  [R.  A.,  1864]. 
Surely  a  work  like  this,  with  the  many  charming  specimens  in  the  same  style  which  we 
have  received  from  this  artist,  may  be  admitted  as  evidence  in  what  direction  his  genius 
really  lies  ;  not  force,  thought,  imagination,  but  refinement,  grace,  and  fancy.  It  is  his 
work  in  the  latter  manner  which  will  at  any  rate  be  preferred  by  all  the  world  to  his  at- 
tempts in  the  terribile  via  of  life-size  allegories.  '  —  Palgrave's  Essays  on  Art. 

"  But  whether  of  distinguished  men,  or  of  men  and  women  utterly  unknown  to  the 
world,  the  portraits  of  Mr.  Watts  stand  out  in  strong  relief  from  the  portraits  of  the 
painter's  contemporaries,  redeeming  portrait-painting  from  the  charge  of  decline  in  our 
day."  —  Mrs.  Tytler's  Modem  Painters. 

"  Mr.  Watts  has  painted  much,  he  has  also  thought  much,  and  his  works  have  come  to 
be  regarded  as  the  exponents  of  a  principle,  and  the  expression  of  a  conviction.  As  a 
painter,  he  has  few  followers,  and  no  imitators,  and  yet  the  example  he  sets,  if  it  have 
VOL.  II.  15  V 


338     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


slight  visible  sign,  is  felt  as  a  guiding  power  It  is  well  known  that  the  use  ol 

fresco  in  domestic  decoration,  though  still  a  novelty  in  England,  finds  abundant  prece- 
dents in  Rome,  Florence,  Bologna,  and  Genoa.  Mr.  Watts  has  perhaps  done  more  than 
any  other  man  to  domesticate  high  art  in  the  homes  of  England."  —  J.  B.  Atkinson,  in 
English  Painters  of  the  Present  Day,  1871. 

"  Mr.  Watts'  portraits  are  all  conscientious  and  subtle,  and  of  great  present  interest, 
yet  not  realistic  enough  to  last."  —  Ruskin's  Notes  of  the  Academy,  1875. 

Wauters,  Charles  Augustin.  {Belgian.)  Born  at  Boom,  1811. 
Chevalier  of  the  Order  of  Leopold.  Two  great  medals  at  Brussels. 
Director  of  the  Academy  of  Malines,  where  he  had  been  a  pupil  under 
Van  Bree.  His  subjects  are  religious  and  historical  ;  he  has  also 
painted  portraits  and  a  few  genre  scenes.  Among  his  works  are, 
"  Peter  the  Hermit  preaching  the  Crusade,"  "  The  Passage  of  the 
Ked  Sea,"  "  The  Martyrdom  of  Saint  Lawrence,"  "  Giotto,"  "  Dante 
and  Beatrice,"  "  Death  of  Mary  of  Burgundy,"  "  The  Day  after  the 
Ball,"  "  The  Unhappy  Family." 

Wauters,  Emile  Charles.  {Belgian.)  Born  at  Brussels.  Member 
of  the  Academies  of  Brussels  and  Vienna,  and  Knight  of  the  Order  of 
Leopold.  Medals  at  Paris  in  1875  and  '76.  Pupil  of  Portaels.  He 
exhibited  at  the  Paris  Salon  in  1877,  "  Mary  of  Burgundy  sworn  to 
respect  the  Privileges  of  the  Commons,  1477  "  (for  the  grand  staircase 
of  the  Hotel  de  Ville  at  Brussels)  ;  in  1875,  "  The  Madness  of  Hugo 
van  der  Goes  "  (belonging  to  the  Belgian  Government).  His  picture 
of  "  Mary  of  Burgundy  before  the  Sheriffs  of  Ghent "  was  exhibited 
in  London,  and  was  much  noticed.  At  Berlin,  in  1876,  he  exhibited 
a  portrait  of  Herr  C.  Somzee.  At  Paris,  in  1878,  three  of  the  fore- 
going pictures  were  exhibited. 

Way,  A.  J.  H.  {Am.)  Born  in  Washington,  D.  C,  1826.  He 
inherited  his  taste  for  art  from  his  mother,  who  is  said  to  have  handled 
the  pencil  with  no  little  skill.  He  began  his  studies  under  J ohn  P. 
Frankenstein  in  Cincinnati,  at  that  time  considered  one  of  the  strong- 
est head-painters  in  the  country.  Later,  he  was  a  pupil  of  Alfred  J. 
Muller  of  Baltirnore.  In  1850  he  went  to  Paris,  entering  the  atelier 
of  Drolling  ;  in  1851  he  was  admitted  to  the  Academy  of  Fine  Arts 
in  Florence.  He  spent  four  years  in  study  in  Europe,  and  the  rest  of 
his  professional  life  in  Baltimore.  He  was  one  of  the  four  artists  who 
organized  the  Maryland  Academy  of  Fine  Arts,  and  was  for  some 
time  its  Vice-President.  His  early  efforts  were  directed  to  portrait- 
ure, but  about  1859  he  painted  by  chance  a  fruit-piece,  which  at- 
tracted the  attention  of  Leutze,  who  advised  him  to  devote  himself  to 
still-life,  a  branch  of  the  profession  he  has  since  followed  with  marked 
success.  He  has  exhibited  for  the  last  twenty  years  in  the  National 
Academy,  and  occasionally  at  the  Royal  Academy,  London.  Among 
the  better  known  of  his  works  are,  "  A  Christmas  Morning  "  (chromo- 
lithographed  in  Berlin,  and  well  known  in  America).  It  was  painted 
in  1870.  His  "  Appetizer  "  has  also  been  chromoed.  Dr.  H.  F.  Zol- 
lickoffer  of  Baltimore  owns  his  "  Purity  "  and  "  Flora  and  Pomona." 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  339 


His  "  Prince  Albert  Grapes  "  (1874)  is  in  the  collection  of  W.  T. 
Walters  of  Baltimore.  To  the  Centennial  Exhibition  of  1876  he  con- 
tributed two  panels  (grapes)  belonging  now  to  J.  T.  Williams  of  New 
York,  for  which  he  received  a  medal  "  for  excellence  in  still-life." 

"  Perhaps  Mr.  Way  is  best  known  by  'A  Christmas  Memory.'  It  is  a  small  picture, 
and  represents  a  plate  of  Sevres  porcelain,  with  bunches  of  grapes  and  raisins,  an 
orange,  some  ruddy  apples,  etc.,  all  resting  on  a  crimson  and  blue  fruit  napkin.  Thus 
it  would  have  made  a  charming  dessert  piece  ;  but  some  sprigs  of  holly  were  twisted 
into  a  sort  of  wreath,  giving  warmth  to  the  picture  and  suggesting  the  season."  —  Wash- 
ington, D.  C,  Capitol,  September  15,  1872. 

"  In  all  qualities  of  form,  color,  texture,  and  solidity,  his  grapes  are  admirable.  He 
attains  these  fine  results  by  conscientious  portraiture  of  his  models.  He  selects  fine 
bunches  of  his  favorite  fruit,  hangs  them  in  the  light  that  he  desires,  and  against  such 
background  as  best  brings  out  their  beauties,  and  then  paints,  with  the  most  loving  care, 
every  detail.  His  treatment  of  this  subject  is  most  masterly. "  —  Baltimore  Every  Satur- 
day, November  10,  1877. 

Weber,  August.  (Ger.)  Born  at  Frankfort  (1817  - 1873.)  Stud- 
ied under  Bosenkranz,  and,  later,  in  Darmstadt  under  Schilbach. 
Settled  at  Diisseldorf,  where  he  became  a  professor.  His  evening 
lights  and  moonlight  effects  are  worthy  of  notice.  Weber  painted  in 
water-colors  and  executed  some  lithographs.  At  the  National  Gal- 
lery, Berlin,  is  "  A  Westphalian  Landscape  "  by  him  ;  at  the  Leipsic 
Museum,  a  "  Moonlight  Scene." 

Weber,  Paul.  (Ger.)  Born  about  1823.  Made  his  studies  in 
Frankfort.  In  1848  he  went  to  the  United  States  and  settled  in  Phila- 
delphia. In  1857  he  traveled  in  Scotland  and  Germany,  and  returned 
to  America.  In  1858  he  went  to  Darmstadt,  and  was  there  appointed 
court  painter.  Since  then  he  has  sometimes  resided  in  Munich. 
"A  Scene  in  the  Catskills"  (painted  in  1858)  is  a  good  example  of 
his  work,  and  is  now  in  the  Corcoran  Gallery  at  Washington.  One 
of  his  most  important  pictures,  called  "  Morning,"  is  in  the  Gallery  of 
the  Pennsylvania  Academy  of  Fine  Arts.  A  large,  fine  picture  by 
Weber,  "Lake  Chiemsee,  in  the  Bavarian  Highlands,"  belongs  to 
Mrs.  E.  D.  Kimball  of  Salem,  Mass.  Several  works  of  this  artist 
were  exhibited  at  the  National  Academy,  New  York,  in  1869. 

Weber,  Otto.  (Ger.)  Born  at  Berlin.  Killed  in  the  war  of 
1870.  Medals  at  Paris  in  1864  and  '69.  Pupil  of  Steffeck  and 
Couture.  At  the  Salon  of  1870  he  exhibited  "  Springtime "  and 
"  Annunziata, —  the  Spinner  and  her  Cow  " ;  in  1869,  "  An  Ox-Team  "  ; 
in  1868,  "  The  Deer  Quarry  "  and  "  La  rentree  du  bois  de  chauffage  "  ; 
in  1867,  "  The  Plowing  "  and  "  Under  the  Chestnut-Trees "  ;  in 
1864,  "  A  Wedding  at  Pontaven,  Brittany "  and  "  Cattle  in  a 
Wood."  At  the  Walters  Gallery,  Baltimore,  are  "  The  Hay-Gather- 
ing" and  a  large  representation  of  a  "Fete  in  Brittany,"  by  this 
artist.  The  whole  work,  figures  and  landscapes,  is  worthy  of  praise. 
Two  of  his  pictures  are  in  the  Luxembourg. 

"The  first  picture  by  Otto  Weber  that  proved  his  claim  to  high  position  was  exhibited 
in  the  Salon  of  1866,  and  afterward  in  Mr.  Walliks'  exhibition,  in  the  Suffolk  Street  Gal- 


340     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lery.  It  was  entitled  '  La  premiere  neige  sur  l'Alm  (Baviere),'  and  represented  Bavarian 
peasants  bringing  their  cattle  down  from  the  mountains.  The  cattle  and  figures  were 
admirable  for  perfect  freedom  of  movement  and  truth  of  design.  There  is  a  certain 
point  in  animal  painting  which  is  not  easily  passed,  but  which  is  well  known  to  all  who 
have  practically  attempted  that  branch  of  art.  You  may  be  able  to  paint  a  cow  or  a 
horse  quite  respectably  in  some  very  common  attitude,  which  the  animal  can  be  induced 
to  retain  for  several  minutes  at  a  time,  but  it  does  not  follow  that  you  are  able  to  put 
the  animal  in  one  of  those  highly  expressive  and  living  postures  which  do  not  remain 
71  laltered  for  one  second.  To  do  this  you  must  have  some  memory  and  imagination, 
and  a  knowledge  of  the  animal  far  surpassing  any  ordinary  accuracy.  All  the  great 
animal-painters  have  this  power  and  continually  use  it,  the  great  amount  of  life  which 
all  recognize  in  their  pictures  being  mainly  due  to  it.  Otto  Weber  has  it  in  the  same 
degree  as  Troyon  and  the  Bonheurs,  and  he  has  all  the  other  accomplishments  necessary 
to  the  production  of  a  first-rate  cattle-picture  ;  his  color  is  delicate  and  agreeable,  though 
lie  is  not  a  colorist  in  the  great  and  peculiar  meaning  of  the  word  ;  and  his  chiaroscuro 
is  fairly  good,  although  he  is  not  in  any  way  remarkable  as  a  master  of  tonality.  His 
sense  of  the  values  of  local  colors,  as  lights  and  darks,  is,  however,  exceptional,  the 
effect  of  the  picture  above  mentioned  being  altogether  due  to  it,  and  very  powerful. 
His  landscape  is  always  excellent,  and  was  shown  to  the  greatest  advantage  in  that  pic- 
ture, where  the  whole  country,  from  the  snows  on  the  high  mountains  to  the  vegetation 
in  the  immediate  foreground,  was  admirably  studied  and  most  faithfully  rendered.  The 
photograph  ....  is  from  a  picture  of  Highland  cattle  just  going  to  pass  a  ferry, 
and  it  will  be  seen  that  Otto  Weber,  in  spite  of  his  foreign  origin,  has  entered  as  com- 
pletely into  the  character  of  our  glorious  little  Highland  breed  as  the  best  of  our 
native  painters.  I  have  seen  several  other  pictures  by  tbe  same  painter,  and  a  few 
etchings  of  his,  which  confirm  my  favorable  opinion,  but,  on  the  whole,  consider  '  La 
premiere  neige  sur  l'Alm'  his  most  complete  and  masterly  work."— Hamerton's 
Painting  in  France. 

Webster,  Thomas,  R.  A.  (Brit.)  Bom,  1800.  He  entered 
the  Royal  Academy  at  the  age  of  twenty,  receiving  in  1825  the  gold 
medal  of  the  Academy.  He  exhibited  at  the  Royal  Academy  as  early 
as  1823,  and  among  his  earlier  works  sent  to  that  gallery  and  to  the 
British  Institution  may  be  mentioned,  "  The  Gunpowder  Plot,"  "  The 
Sick  Child,"  "  Returning  from  the  Fair,"  "  The  Love-Letter,"  "  Read- 
ing the  Scriptures,"  "  The  Village  School,"  "  Anticipation,"  "  Punch," 
"The  Smile,"  "The  Frown,"  "Contrary  Winds,"  "The  Dame's 
School,"  "Dotheboy's  Hall,"  "The  Battle  of  Waterloo,"  "Good 
Night,"  "The  Village  Choir,"  "  See-Saw,"  "Village  Gossips,"  etc., 
many  of  which  have  been  engraved.  In  1840  he  was  elected  an  As- 
sociate of  the  National  Academy,  and  Academician  in  1846.  He  has 
contributed  regularly  to  its  exhibitions,  sending,  in  1869,  "  Poli- 
ticians" ;  in  1871,  "Volunteers  at  Artillery  Practice";  in  1872, 
"  Odd  or  Even  "  ;  in  1873,  "An  Interested  Adviser  "  ;  in  1874,  "  The 
Wreck  Ashore"  ;  in  1876,  "Youth  and  Age"  ;  in  1877,  "The  Let- 
ter" ;  in  1878,  a  portrait  of  himself.  His  "  Going  into  School  "  and 
u  Dame's  School  "  are  at  the  National  Gallery. 

He  was  placed  on  the  list  of  Honorary  Retired  Academicians  in 
1877. 

Weekes,  Henry,  R.  A.  (Brit.)  Born  in  Canterbury  (1807  - 1877). 
Studied  under  Chantrey  and  Behnes.    Was  elected  an  Associate  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  341 


the  Royal  Academy  in  1850,  and  Academician  in  1863.  In  1852  he 
received  the  gold  medal  of  the  Society  of  Arts  for  the  best  treatise  on 
the  Fine  Art  section  of  the  Great  Exhibition.  He  was  appointed  Pro- 
fessor of  Sculpture  at  the  Royal  Academy  in  1869.  He  made  the 
first  portrait  bust  of  Queen  Victoria  executed  after  her  accession. 
Among  his  works  are  colossal  statues  of  Cranmer,  Latimer,  and  Rid- 
ley, which  form  part  of  the  Martyrs'  Monument  at  Oxford ;  a  statue 
of  Lord  Bacon,  at  Trinity  College,  Oxford ;  Dr.  Goodale,  at  Eton  ; 
Marquis  of  Wellesley,  at  the  India  House;  Lord  Auckland,  at  Cal- 
cutta; and  one  of  the  groups  of  the  Albert  Memorial. 

Weeks,  E.  L.  {Am.)  Born  in  Boston,  1849.  He  studied  in 
l'Ecole  des  Beaux- Arts,  in  Paris,  and  in  the  ateliers  of  Gerome  and 
Bonnat,  spending  his  professional  life  in  his  native  city  and  in  Cairo 
(Egypt),  Jerusalem,  Damascus,  and  Tangiers.  He  is  a  member  of  the 
Boston  Art  Club,  elected  in  1874,  and  has  exhibited  at  the  Paris 
Salon  and  at  the  Paris  Societe  des  Amis  des  Arts.  Among  his  works 
are,  "  A  Cup  of  Coffee  in  the  Desert,"  a  group  of  Arabs  and  camels 
(belonging  to  Ole  Bull),  "  Pilgrimage  to  the  Jordan "  (owned  in 
Albany,  N.  Y.),  "A  Scene  in  Tangiers"  (in  the  collection  of  T  G. 
Appleton),  "  Jerusalem  from  the  Bethany  Road,"  an  early  picture 
(belonging  to  Rev.  E.  L.  Clark  of  New  York),  "  A  Moorish  Camel- 
Driver"  (in  the  Paris  Salon  of  1878),  "Alhambra  Windows"  (be- 
longing to  J.  B.  Richmond,  Boston),  "  An  Arab  Story-Teller  "  (at  the 
Centennial  Exhibition  of  1876),  "  They  toil  not,  neither  do  they  spin 
(exhibited  in  Boston),  etc. 

"  The  illustrations  of  Eastern  life  by  E.  L.  Weeks  are  striking  and  full  of  merit.  One 
of  them  —  camels  and  their  riders  on  the  desert,  with  a  boy  marching  along  playing  the 
flute  —  has  the  charm  of  simplicity,  and  much  good  color.  The  camels  are  drawn  with 
understanding,  and  are  well  planted  on  their  feet,  while  the  figure  of  the  boy  is  naive 
and  in  good  action.  Mr.  Weeks  has  made  immense  strides  the  last  season,  and  prom- 
ises to  rank  high  in  the  branch  of  art  he  has  chosen  to  follow."  —  Boston  Advertiser, 
January  17,  1876. 

"  The  one  thing  to  be  noticed  in  all  the  paintings  of  this  artist  is  the  remarkable  skill 
he  displays  in  keeping  the  individuality  of  the  colors.  By  this  he  produces  most  charm- 
ing effects  of  color,  where  a  less  skillful  artist  would  fail  to  make  the  picture  more  than 
interesting.  There  is  a  decided  out-of-door  look  about  this  picture  ['  Midsummer '],  too, 
which  tells  the  beholders  that  the  artist  painted  Nature  just  as  he  found  her."  —Boston 
Advertiser  November  20,  1877. . 

"  Mr.  Weeks  has  taken  up  a  field  for  study  in  which  he  finds  himself  almost  alone, 
and  has  given  every  effort  to  the  increase  of  his  knowledge  of  the  life  and  character  of 
these  people  who  toil  in  the  field.  For  years  Mr.  Weeks  has  traveled  in  the  East,  filling 
his  sketch-book  with  scenes  with  which  to  illustrate  his  experience  there. "  —  Boston 
Advertiser,  February  16,  1878. 

Wegener,  Johann  Friedrich  Wilhelra.  (Ger.)  Born  at  Dres- 
den, 1812.  Under  the  greatest  difficulties  and  with  no  instructor  he 
became  a  portrait-painter,  by  which  means  he  supported  himself,  and 
as  soon  as  possible  took  up  animal  painting.  At  length  he  was  able 
to  go  to  the  Dresden  Academy  for  a  short  time.  He  also  made  a 
student's  journey  in  the  German  mountains  and  Upper  Italy.    As  an 


342     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


historical  painter  he  has  executed  altar-pictures  for  the  churches  in 
Gross- Gmehlen  and  Lichtenstein.  At  the  National  Gallery,  Berlin, 
is  his  "  Wild  Buck." 

Weir,  Robert  W.,  N.  A.  (Am.)  Born  at  New  Rochelle,  N.  Y., 
1803.  He  became  a  professional  artist  at  the  age  of  twenty.  For 
several  years  he  painted  in  New  York,  and  spent  a  long  time  in  study 
in  Florence  and  Rome.  In  1829  he  was  elected  a  member  of  the 
National  Academy,  and  Professor  of  Drawing  in  the  Military  Acad- 
emy at  West  Point  in  1832,  a  position  he  held  for  many  years.  Among 
Professor  Weir's  earlier  works  are,  "  The  Bourbons'  Last  March," 
"  Landing  of  Henry  Hudson,"  "  Indian  Captives,"  "  Christ  and  Nico- 
demus,"  "  Child's  Evening  Prayer,"  "  Pier  at  Venice,"  "  View  on  the 
Hudson,"  "  Taking  the  Veil,"  etc.  In  1867  he  sent  to  the  National 
Academy,  "  Heaving  the  Lead,"  in  water-color,  and  "  The  Evening  of 
the  Crucifixion  "  ;  in  1869,  "  Virgil  and  Dante  crossing  the  Styx  "  ; 
in  1874,  "  The  Portico  of  the  Palace  of  Octavia,  Borne  "  ;  in  1877, 
"  The  Belle  of  the  Carnival "  and  "  Our  Lord  on  the  Mount  of 
Olives  "  ;  in  1878,  "  Indian  Falls."  Professor  Weir  is  an  Associate 
Member  of  the  Water-Color  Society,  but  not  a  frequent  contributor 
to  its  exhibitions.  He  has  at  present  (1884)  a  studio  in  New  York. 
Among  the  other  pictures  painted  by  this  artist  are,  "  Christ  in  the 
Garden,"  "  Titian  in  his  Studio,"  and  "  Columbus  before  the  Coun- 
cil of  Salamanca."  His  "Taking  the  Veil"  (belonging  to  A.  C. 
Aid  en)  was  in  the  Centennial  Exhibition  of  1876  ;  his  "  Psestum  by 
Moonlight "  and  "  Last  Communion  of  Henry  Clay  "  (water-color) 
were  in  the  Johnston  Collection.  His  "  Embarkation  of  the  Pil- 
grims "  is  in  the  rotunda  of  the  Capitol  at  Washington. 

"  Weir  excels  in  cabinet  genre  pictures.  We  recall  one  representing  a  child  saying  its 
evening  prayers  at  its  grandmother's  knee  ;  a  most  graceful,  simple,  expressive  little 
work,  the  still-life  of  Flemish  authenticity.  Some  of  his  landscapes  and  portraits  are 
excellent."  — Tuckerman's  Book  of  the  Artists. 

Weir,  John  F.,  N.  A.  (Am.)  Son  of  Robert  W.  Weir.  Born  at 
West  Point,  N.  Y.,  1841.  He  received  his  education  under  the  in- 
structors of  the  Military  Academy  there,  and  began  painting  in  the 
studio  of  his  father.  In  1861  he  took  a  studio  of  his  own  in  the  Tenth 
Street  Building,  New  York.  He  was  elected  a  member  of  the  Artists' 
Fund  Society  in  1864,  and  full  member  of  the  National  Academy  in 
1866.  He  went  to  Europe  in  1868,  remaining  about  a  year  in  the 
different  art-centers.  In  1869  he  was  elected  by  the  Corporation  of 
Yale  College  to  fill  the  chair  of  Director  of  the  Yale  School  of  Fine 
Arts,  a  position  which  he  still  holds.  In  1876  he  was  appointed  Judge 
of  the  Fine  Arts  at  the  Centennial  Exhibition  at  Philadelphia,  and 
wrote  the  official  report  of  the  same,  which  is  so  frequently  quoted  in 
these  pages.  His  professional  life  has  been  spent  in  New  Haven  and 
New  York.  His  first  work  was  a  "  Sunset  at  West  Point,"  painted  at 
the  age  of  seventeen.    Among  the  better  known  of  his  pictures  are, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  343 


"The  Culprit  Fay,"  "The  Christmas  Bell,"  "The  Gun  Foundry" 
(belonging  to  R.  P.  Parrott),  which  was  exhibited  at  the  National 
Academy,  New  York,  the  Paris  Exposition  of  1867,  and  Philadelphia 
in  1876.  "  Forging  the  Shaft "  (at  the  National  Academy,  New  York) 
was  burned  while  in  the  possession  of  H.  W.  Derby.  "  The  Con- 
fessional "  (belonging  to  Justus  Hotchkiss  of  New  Haven)  was  at 
Philadelphia  in  1876;  "Venice"  is  in  the  collection  of  Jno.  W. 
Jewett ;  "  Tapping  the  Furnace  "  and  "  An  Artist's  Studio  "  belong 
to  Cyrus  Butler.  A  replica  of  "  Forging  the  Shaft,"  painted  in  1868, 
was  sent  to  the  Paris  Exposition  of  1878. 

"  Weir's  'West  Point  Foundry,'  representing  the  casting  of  a  gun,  is  his  best-known 
and  most  successful  work.  He  has  spared  no  pains  to  render  it  authentic,  the  figures 
are  modeled  from  some  of  the  athletes  of  the  establishment,  the  details  are  exact,  and 
the  extremely  difficult  task  of  eliminating  all  the  light  on  the  picture  from  the  molten 
metal  passing  from  the  caldron  into  the  mold  has  proved  a  complete  success. "  — 
Tuckerman's  Book  of  the  Artists. 

"  Professor  Weir  contributes  a  forest  interior  [Artists'  Fund  Exhibition  of  1878],  excel- 
lent in  what  may  be  termed  its  ideal  reality,  details  being  not  sacrificed  to  sentiment, 
nor  sentiment  to  objective  force  ;  excellent  also  in  the  pleasantness  of  the  light  that 
creeps  and  glows  through  the  foliage  or  on  the  pearly  bark  of  the  trees,  and  in  the  quiet 
harmony  and  delicious  purity  of  the  tints."  —  New  York  Evening  Post,  January  15,  1878. 

Weir,  Julian  Alden.  (Am.)  Son  of  Robert  W.  Weir,  N.  A., 
and  younger  brother  of  John  F.  Weir,  N.  A.  Inheriting  much  of 
the  family  talent  for  art,  he  has  a  studio  in  New  York,  devoting  him- 
self particularly  to  portrait-painting.  He  exhibits  at  the  National 
Academy,  is  a  member  of  the  Society  of  American  Artists,  and  sent 
to  its  first  exhibition  several  portraits  and  "An  Interior."  He 
sent  from  Paris  to  the  National  Academy,  New  York,  in  1875,  "A 
Brittany  Interior";  in  1877,  "At  the  Water-Trough,"  "Brittany 
Peasant-Girl,"  "  Brittany  Washerwomen,"  and  "  Study  of  an  Old 
Peasant."  He  sent  "A  Breton  Interior"  to  the  Paris  Exposition  of 
1878. 

[No  response  to  circular.] 

"Mr.  Weir  has  a  wonderful  delicacy  in  the  flesh  tones,  where  the  highest  light 
graduates  into  the  slightest  half-tints  with  singular  puinty.  An  instinctive  feeling  has  a 
great  deal  to  do  with  the  softness  and  purity  of  the  colors,  but  his  knowledge  is  also 

very  unusual  His  heads  have  attracted  great  attention  in  Paris,  and  the  look  of 

individuality  in  his  faces,  together  with  his  other  good  qualities,  promises  for  him  great 
success  as  a  portrait-painter."  —  Art  Journal,  April,  1878. 

Wells,  Henry  T.,  R.  A.  (Brit.)  Bom  in  London,  1828.  He 
began  his  career  as  a  painter  of  miniatures,  in  which  branch  of  art  he 
won  decided  distinction,  exhibiting  at  the  Royal  Academy  as  early  as 
1845.  About  1860  he  began  the  execution  of  larger  canvases,  con- 
tributing regularly  to  the  Royal  Academy,  and  numbering  among  his 
sitters  many  distinguished  people.  He  was  elected  an  Associate  of 
the  Royal  Academy  in  1866,  and  Academician  in  1870.  Several  of 
his  portraits  and  portrait  groups  were  at  the  Centennial  Exhibition 
at  Philadelphia  in  1876,  and  at  Paris  in  1878. 


344     ARTIST^  OF  THE  NINETEENTH  CENTURY. 


"  We  are  glad  to  see  that  Mr.  Wells  varies  the  practice  of  portraits  by  landscapes,  a 
union  of  styles  for  which  he  can  easily  find  great  precedents.  His  '  Farmyard  at 
Evening '  [R.  A.,  1865]  has  an  impressive  sobriety  of  tone  which  wants  more  gradation 
to  achieve  the  effect  aimed  at  by  the  artist.  The  trees  are  well  discriminated. "  —  Pal- 
grave's  Essays  on  Art. 

"  H.  T.  Wells  always  employs  sound  taste  in  arrangement,  and  is  often  very  success- 
ful in  management  of  color."  —  Art  Journal,  July,  1873. 

Wells,  Johanna  Mary.  (Brit.)  Wife  of  Henry  T.  Wells  (nee 
Boyce).  (1831-1861.)  She  received  her  art  education  in  London, 
and  later,  for  a  short  time,  under  Couture  in  Paris.  She  studied  also 
in  Italy,  and  was  married  in  Rome  in  1858.  "  Elgiva,"  her  first  pic- 
ture, was  exhibited  at  the  Royal  Academy  in  1855  ;  "  The  Boys' 
Crusade,"  in  1860;  "  Bo-Peep,"  "The  Heather  Gatherers,"  and 
"  Do  I  like  Butter  1 "  in  1861. 

Wencker,  Joseph.  (Fr.)  Born  at  Strasbourg.  Prix  de  Rome, 
1876.  Medal  in  1877.  Pupil  of  Gerome.  At  the  Salon  of  1877  he 
exhibited  a  portrait  of  Mile.  Marthe  G.  ;  in  1876,  "  Stoning  of  St. 
Stephen." 

Werner,  Anton  von.  (Ger.)  Born  at  Frankfort-on-Oder,  1843. 
Director  of  the  Royal  Academy  of  Berlin,,  Court  painter.  Officer  of 
the  Order  of  the  Crown  of  Italy,  Knight  of  various  orders,  and  the 
recipient  of  many  medals.  Member  also  of  the  Academies  of  Venice 
and  of  Caraccas  (Venezuela).  At  the  Royal  Academy  of  Berlin,  in 
1876,  he  exhibited  "  The  Festival,"  "  Schneewittchen,  die  7  Raben  " 
(all  sketches  of  decorative  works),  and  a  portrait  of  a  man.  Among 
his  pictures  are,  "  Luther  at  the  Diet  of  Worms,"  "  Moltke  before 
Paris,"  "  Moltke  at  Versailles,"  "  Proclamation  of  the  German  Em- 
pire in  the  Galerie  des  Glaces  at  Versailles,"  "  Irregang,"  and  "Don 
Quixote  at  the  Goatherd's."  He  has  illustrated  the  works  of  T.  V. 
von  SchefFel.  For  the  "  Trumpeter  of  Seckengen  "  he  made  thirty- 
nine  drawings  ;  these  are  much  admired,  and  well  represent  the  spirit 
of  the  time  they  illustrate. 

"Anton  von  Werner,  although  still  a  young  man,  is  already  Director  of  the  Royal 
Academy  at  Berlin.  He  is  one  of  the  first  of  living  historical  painters.  To  a  correct 
eye  for  color  and  drawing,  he  adds  a  grandeur  of  style  very  appropriate  in  an  artist  who 
is  court  painter  for  the  Germanic  Empire.  Some  of  his  decorative  works  are  character- 
ized by  a  happy  combination  of  breadth,  harmonious  color,  and  energetic  action.  But 
the  work  that  has  added  most  to  his  celebrity  is  a  picture  which  illustrates  the  procla- 
mation of  the  German  Empire  in  the  sumptuous  Galerie  des  Glaces  at  the  Palace  of 
Versailles."  —  Benjamin's  Contemporary  Art  in  Europe. 

West,  Peter  B.  (Brit. -Am.)  Born  at  Bedford,  1833.  Studied 
in  his  native  city,  and  in  the  Lees  School  of  Arts  in  London.  Was 
also  a  pupil  of  his  father,  Robert  West,  considered  one  of  the  best 
judges  of  painting  in  the  midland  counties  of  England.  He  followed 
his  father's  profession,  that  of  picture-restorer,  in  New  Orleans  and 
other  American  cities,  finally  turning  his  attention  to  animal  painting 
with  considerable  success.  His  studio  at  present  (1878)  is  in  Cleve- 
land, Ohio,  where  he  has  painted  many  of  the  fine  horses  of  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  345 


section  of  the  country.  Among  his  works  may  be  mentioned,  "  Por- 
trait of  Lady  Kate,"  a  trotting-horse  owned  by  F.  Rockefellow;  "  Bull- 
Fight/'  owned  by  Dr.  D.  H.  Beckwith,  and  "  Group  of  Game,"  the 
property  of  J.  H.  Clark,  all  of  Cleveland.  To  the  Centennial  Exhi- 
bition at  Philadelphia,  in  1876,  he  contributed  a  genre  picture,  still- 
life,  now  owned  by  Mr.  Grant  of  Foxburg,  Pa. 

Westmacott,  Richard,  R.  A.  {Brit.)  (1799-1872.)  Son  of 
Sir  Richard  Westmacott,  R.  A.,  from  whom  he  inherited  his  artistic 
talent,  and  received  his  first  instruction  in  art.  He  entered  the 
schools  of  the  Royal  Academy  in  1818.  In  1820  he  went  to  Italy  for 
the  purpose  of  study,  remaining  six  years.  In  1826  he  sent  his  first 
work  to  the  Royal  Academy,  a  marble  statue  of  a  girl  holding  a 
bird.  He  exhibited  "  The  Reaper  "  in  1831,  and  the  "  Cymbal-Player  " 
(belonging  to  the  Duke  of  Devonshire)  in  1832.  About  this  time 
he  executed  in  bas-relief,  "  Narcissus,"  "  Verms  and  Ascanius,"  "  Venus 
instructing  Cupid,"  and  "  Bluebell  and  Butterfly."  In  1838  he  was 
elected  an  Associate  of  the  Royal  Academy,  and  Academician  in  1849. 
Among  his  later  works  are,  "  David,"  "  Resignation,"  "  Prayer,"  "  An- 
gel Watching,"  and  busts  of  Earl  Russell,  Sydney  Smith,  etc.  West- 
macott was  the  author  of  several  valuable  works  upon  art  subjects, 
one  of  the  most  important  being  his  "  Hand-Book  of  Ancient  and 
Modern  Sculpture,"  published  in  1864. 

"  As  a  sculptor,  Richard  Westmacott's  works  generally  must  rank  below  those  of  his 
father.  Yet  they  are  by  no  means  without  merit,  graceful  rather  than  powerful,  but 
manifesting  careful  study  and  matured  knowledge.  He  was  learned  in  his  art,  and  ac- 
cepted as  an  authority  on  all  matters  connected  with  it."  —  Art  Journal,  June,  1872. 

Wharton,  P.  F.  (Am.)  Born  at  Philadelphia,*  1841.  Received 
his  art  education  in  the  Pennsylvania  Academy  of  Fine  Arts,  later, 
going  abroad  and  studying  in  Dresden  and  in  the  Atelier  Suisse 
in  Paris.  Many  of  his  earlier  works  are  in  the  possession  of  Mrs. 
John  Lardner  and  Joseph  W.  Drexel  of  Philadelphia,  where  the  better 
part  of  his  professional  life  has  been  spent.  To  the  Centennial  Exhi- 
bition of  1876  he  sent  his  most  important  work,  for  which  he  received 
a  medal.  It  is  entitled  "  Perdita  at  the  Sheep- Shearing  Festival,"  a 
scene  from  "  Winter's  Tale."  His  last  picture  (1878),  "  Waiting  for 
the  Parade,"  belongs  to  D.  C.  W.  Smith  of  Philadelphia.  Smaller 
and  less  elaborate  works  are  owned  in  New  York.    [Died,  1880.] 

Whistler,  James  Abbott  M'Neill.  (Am.)  According  to  the  regis- 
ter of  St.  Anne's  Church,  Lowell,  Mass.,  he  was  born  in  that  city  in  1834, 
but  was  taken  when  a  child  to  Russia,  where  his  father  was  employed 
as  an  engineer.  When  twelve  years  old  this  artist  returned  to  America, 
and  was  educated  at  West  Point.  About  1855  he  removed  to  England. 
Later,  he  studied  two  years  under  Gleyre  in  Paris.  He  next  went 
to  London,  where  he  settled.  He  has  exhibited  his  works  at  the 
Royal  Academy,  the  Dudley  and  Grosvenor  Galleries,  the  Paris  Sa- 
lons, and  at  The  Hague.  He  made  an  exhibition  of  his  works  in  Lon- 


346     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


don  in  1874,  which  attracted  much  attention.  To  the  Academy  he 
sent,  in  1863  (in  oils),  "  The  Last  of  Old  Westminster  "  and  "  Westmin- 
ster Bridge"  ;  in  1864,  "  Wapping"  ;  in  1865,  "  The  Golden  Screen, 
"Old  Battersea  Bridge,"  and  "The  Little  White  Girl";  in  1867, 
"  Symphony  in  White,  No.  3  "  and  "  Sea  and  Rain"  ;  in  1870,  "  The 
Balcony  "  ;  etc.  In  1877  he  exhibited  at  the  Grosvenor  Gallery,  eight 
pictures,  —  a  portrait  of  Mr.  Carlyle,  "  A  Nocturne  in  Blue  and  Gold," 
"  A  Nocturne  in  Blue  and  Silver,"  "  A  Nocturne  in  Black  and  Sil- 
ver," "  An  Arrangement  in  Black  "  (representing  Mr.  Irving  as  Philip 
II.),  "  A  Harmony  in  Amber  and  Black,"  and  "  An  Arrangement  in 
Brown."  To  the  Grosvenor  Gallery,  in  1878,  he  sent  "  Variations 
in  Flesh-Color  and  Green,"  and  others.  One  of  his  earlier  works, 
"  Mere  Gerard,"  belongs  to  A.  C.  Swinburne.    [Medal,  1883.] 

There  has  been  of  late  (November,  1878)  a  decision  in  a  suit  for 
damages  brought  by  Mr.  Whistler  against  Mr.  Ruskin.  It  was 
grounded  upon  the  following  passage,  which  appeared  in  "  Fors  Clavi- 
gera,"  which  Mr.  Ruskin  edits  :  — 

"  For  Mr.  Whistler's  own  sake,  no  less  than  for  the  protection  of  the  purchaser,  Sir 
Coutts  Lindsay  ought  not  to  have  admitted  works  into  the  gallery  in  which  the  ill-edu- 
cated conceit  of  the  artist  so  nearly  approached  the  aspect  of  willful  imposture.  I  have 
seen  and  heard  much  of  cockney  impudence  before  now,  but  never  expected  to  hear  a 
coxcomb  ask  200  guineas  for  flinging  a  pot  of  paint  in  the  public's  face." 

Mr.  Ruskin  claimed  this  to  be  a  fair  and  bona-fide  criticism  upon  a 
painting  which  had  been  exposed  to  public  view.  The  decision  of  the 
court  gave  Mr.  Whistler  one  farthing  damages  and  no  costs.  The 
following  is  a  portion  of  Mr.  Whistler's  testimony  before  the  court :  — 

"Before  the  Nocturnes  entered  the  Grosvenor  Gallery  they  were  sold,  except  one. 
One  was  sold  to  the  Hon.  Percy  Wyndham  for  200  guineas.  I  had  a  commission  for  one 
of  150  guineas,  and  another  I  sold  for  200  guineas.  Since  the  publication  of  this  criticism 
I  have  not  been  able  to  sell  my  pictures  at  the  old  price.  As  to  the  name  of  '  Nocturne,' 
it  means  an  arrangement  of  lines,  form,  and  color,  with  some  incident  or  object  of  nature 
in  illustration  of  my  theory.  The  '  Nocturne  in  Blue  and  Gold  '  I  knocked  off  in  a  couple 
of  days.  I  painted  the  picture  in  one  day,  and  finished  it  off  the  next  day.  I  do  not  ask 
200  guineas  for  a  couple  of  days'  work  ;  the  picture  is  the  result  of  the  studies  of  a  life- 
time I  do  not  put  my  pictures  in  a  place  to  mellow,  but  I  expose  them  in  the  open 

air  to  dry  as  I  go  on  with  my  work  ;  I  think  that  is  a  good  thing,  and  if  I  were  a  Pro- 
fessor I  would  recommend  it  to  my  pupils. " 

The  "  Arrangement  in  Black  and  Gold,"  the  artist  explains  as  a 
night  view  of  Cremorne  Gardens  with  the  fireworks,  —  hence  its 
name.  The  "Nocturne  in  Blue  and  Silver"  is  "A  View  of  the 
Thames  at  Old  Battersea  Bridge."  During  the  entire  career  of  this 
artist  he  has  been  in  the  habit  of  etching.  He  received  a  gold  medal 
at  The  Hague  for  works  in  this  manner.  A  collection  of  his  etchings 
is  in  the  library  of  Her  Majesty  at  Windsor  Castle,  and  another  col- 
lection is  in  the  hands  of  the  authorities  of  the  British  Museum.  The 
portrait  of  Mr.  Carlyle  has  been  engraved,  and  the  mass  of  the  artist's 
proofs  were  sold  by  subscription. 

"  '  Old  Battersea  Bridge,'  with  a  mud  shore  and  a  river-side  group,  boats  ready  for 
launching,  a  gray  sky,  a  grayer  river,  the  sidelong  bridge  crossed  by  carts  and  passen 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  347 


gers,  shows  one  way  of  treating  these  simple  materials  to  perfection,  whether  composi- 
tion, tone,  truth,  or  originality  is  in  demand.  '  Lange  Lizen  of  the  Six  Marks  '  is  the 
most  delightful  piece  of  color  on  the  walls  of  the  Academy  this  year."  — William  M. 
Rossetti,  in  1874. 

"Whistler's  freaks  of  coloring  were  original,  and  his  Tiepolo-like  touch  effective  ;  hut 
his  pictures  were  rather  suggestive  of  power  than  complete  art."  —  Jarves,  Art  Thoughts. 

"  Every  touch  here  has  been  struck  in  apparently  with  that  directness  which  has  long 
made  Velasquez  the  envy  of  all  artists  ;  the  colored  paper  labels  on  the  right,  above  the 
figure,  should  be  especially  noticed  ;  and  we  may  fairly  suppose  that  if,  in  this  picture 
['  Die  Lange  Lizen ']  and  in  the  '  View  of  Wapping '  near  it,  the  figures  had  been  free 
from  some  obvious  negligences,  Mr.  Whistler  might  have  obtained  from  a  jury  of  oil- 
painters  the  first  prize  for  mastery  over  the  technicalities  of  his  profession."  —  Pali- 
grave's  Essays  on  Art,  1864. 

"  Whistler  is  known  by  his  etchings  and  his  paintings  ;  the  former  receive  nearly  un- 
qualified praise,  the  latter  have  been  alternately  abused  and  lauded*  but  even  his  sever- 
est critics  seem  inclined  in  these  days  to  allow  Whistler  exceptional  achievements, 
however  fitful  or  marred  in  color."  —  Mrs.  Tytler's  Modem  Painters,  1873. 

"  Whistler  as  a  painter  has  the  rare  faculty  of  true  oil-sketching,  selecting  with  cer- 
tainty the  most  essential  truths  He  seems  insensible  to  beauty,  which  is  a  grievous 

defect  in  any  artist ;  but  his  work  is  redeemable  from  vulgarity  by  strange  sensitiveness 
to  color  and  character.  It  is  audacious,  almost  impudent  in  manner  ;  but  it  is  not  effec- 
tive, although  it  looks  so  at  first ;  and  even  its  audacity  is  based  on  directness  and  sim- 
plicity of  color."  —  Hamerton's  Thoughts  about  Art. 

"The  most  finished  and  perfect  specimens  of  Mr.  Whistler's  artistic  powers  are  to  be 
found  in  the  collection  of  etchings  and  engravings  in  dry  point.  For  some  time  amateurs 
in  this  branch  of  art  have  been  acquainted  with  the  views  of  the  Thames  executed  by 
Mr.  Whistler.  We  can  think  of  no  work  in  which  genius,  of  a  certain  kind,  is  more  de- 
cisively manifested.  The  views  of  shipping  and  river-bank  reveal  the  closest  study  of 
the  effects  to  be  seen  in  and  about  London."  —  Art  Journal,  August,  1874. 

"  '  The  Girl  in  White,'  exhibited  in  Baltimore  in  1876,  is  especially  marked  by  Whis- 
tler's idiosyncrasies  It  cannot  be  doubted  that  his  mannerisms,  which  have  the 

appearance  of  affectation,  are  not  in  unison  with  the  spirit  of  true  art."  —  Art  Journal, 
March,  1876. 

"Whistler's  'Nocturnes,'  'Variations,'  and  'Arrangements'  are  all,  we  have  not  the 
slightest  doubt,  brimful  of  talent,  but  it  is  talent  applied  to  the  interpretation  of  a 
school  of  art  which  we  confess  ourselves  utterly  unable  to  comprehend.  Napoleon  I. 
said  of  Goethe  that  he  was  a  great  genius  who  had  something  to  say,  but  who  had  not 
succeeded  in  making  himself  understood.  Mr.  Whistler  is  assuredly  gifted  with  genius, 
but  he  has  scarcely  to  our  thinking  become  articulate."  —  London  Daily  Telegraph, 
May  6,  1878. 

"  Mr.  Whistler  has  his  own  abilities,  his  own  aims,  and  his  own  admirers,  and  it  is  no 
use  denying  the  one,  arguing  about  the  second,  or  abusing  the  third.  He  has  a  right  to 
his  place  among  the  originals  of  his  time  ;  and  it  is  well  he  should  find  room  and  verge 
enough  in  the  Grosvenor  Gallery. "  —  London  Times,  May  2,  1878. 

White,  John  Blake.  (Am.)  Born  in  South  Carolina  (1781  - 
1859).  He  studied  art  in  London  for  four  years  in  the  early  part  of 
the  century  under  Benjamin  West.  Returning  to  America,  he  settled 
in  Charleston,  S.  C,  where  he  studied  and  practiced  law,  painting 
only  as  an  amateur.  He  received,  while  still  a  young  man,  from  the 
South  Carolina  Institute,  a  medal  for  the  "  Best  Historical  Painting 
in  Oils."  Many  of  Mr.  White's  pictures  are  still  in  the  possession  of 
various  members  of  his  family.  Dr.  Octavius  A.  White  of  New 
York  owns  his  "  General  Marion  inviting  the  British  Officer  to  Din- 


348     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ner  in  the  Pedee  Swamp  "  (engraved  by  the  Apollo  Association  of 
New  York),  his  "  Poverty  and  Love,"  "  The  Arrival  of  the  Mail," 
"  Macbeth  and  Banquo  on  the  Heath,"  and  "  The  Brand  of  Sweet 
Water."  Col.  T.  G.  White  of  Beaufort,  S.  C,  owns  his  "  Grave- 
Eobbers  "  and  "  Mrs.  Motte  urging  General  Marion  to  burn  her  Resi- 
dence in  order  to  dislodge  the  British."  A.  J.  White  of  Charleston 
owns  "  The  Taking  of  the  White  Veil "  ;  J.  E.  Holmes  of  South  Caro- 
lina, "  The  Interior  of  Old  St.  Philip's  Church,  Charleston  "  and  "  The 
Burning  of  Old  St.  Philip's  Church."  Elias  Ball  of  South  Carolina 
owns  his  "  Conrad  and  Gulnare  "  ;  J.  J.  B.  White  of  Mississippi,  "  The 
Battle  of  Fort  Moultrie."  Among  his  other  works  are,  "  The  Rescue 
of  the  American  Prisoners  by  Sergeant  Jasper  and  John  Newton" 
(engraved  by  the  Apollo  Association),  "  Massacre  of  American  Prison- 
ers by  the  English  and  Indians  at  Frenchtown"  (painted  in  1813), 
"  The  Battle  of  Eutaw  Springs "  (presented  to  the  State  of  South 
Carolina),  "  The  Martyrdom  of  Hayne,"  "  General  Marion  and  his 
Men  fording  the  Pedee,"  "  The  Battle  of  New  Orleans  "  (painted  in 
1816),  "  Death  of  Osceola,"  "  The  Capture  of  Andre,"  and  "  The  Un- 
furling of  the  United  States  Flag  in  the  City  of  Mexico  "  (presented 
to  Andrew  Jackson,  and  mentioned  by  him  in  his  will).  Among  the 
more  important  of  Mr.  White's  portraits  are  those  of  Col.  Charles  C. 
Pickney  (owned  by  John  W.  Chandler,  New  York),  Dr.  Matthew  0. 
Driscoll  (owned  by  the  Charleston  Medical  College),  Hon.  Keating 
Simmons,  Josiah  Smith,  Edward  R.  Rutledge,  South  Carolina,  and 
other  prominent  men. 

Mr.  White  was  also  distinguished  for  his  literary  attainments, 
having  written  several  successful  dramas,  essays,  etc.  He  was  re- 
garded as  the  pioneer  of  Southern  literature  and  art,  and  called  by 
Tuckerman  "  the  old  American  master." 

White,  Edwin,  N.  A.  (Am.)  (About  1817  -  1877.)  He  began 
to  paint  when  not  more  than  twelve  years  of  age.  Studied  in  Paris, 
Rome,  Florence,  and  Dusseldorf,  going  abroad  for  that  purpose  in 
1850  and  '69.  His  works  are  largely  historical  in  character.  Among 
them  may  be  mentioned,  "  Washington  resigning  his  Commission  " 
(purchased  by  the  State  of  Maryland  for  $  6,000,  and  now  at  Annapo- 
lis), "  Washington  reading  the  Burial  Service  over  the  Body  of  Brad- 
dock,"  "  The  Requiem  of  De  Soto,"  "  Pocahontas  informing  Smith  of 
the  Conspiracy  of  the  Indians  "  (painted  for  General  Kearney),  "  Age's 
Reverie"  (belonging  to  the  West  Point  Military  Academy),  "Luther's 
Vow,"  "  The  Death-Bed  of  Luther,"  "  Milton's  Visit  to  Galileo," 
"The  Old  Age  of  Milton"  (bought  by  the  Art  Union),  "Giotto 
sketching  the  Head  of  Dante,"  "The  Evening  Hymn  of  the  Huguenot 
Refugees,"  "  The  First  New  England  Thanksgiving,"  "  The  First 
Printing  of  the  Bible,"  "  Sabbath  of  the  Emigrants,"  "  Major  Ander- 
son raising  the  Flag  at  Fort  Sumter,"  "  Country  Studio,"  "  Fisher- 
Boy,"  "  Strawberry-Girl,"  etc.    By  his  will  he  left  to  the  New  York 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  349 


Metropolitan  Museum  of  Art  "  The  Antiquary  "  ;  "  Leonardo  da 
Vinci  and  his  Pupils "  he  bequeathed  to  Amherst  College  ;  and  his 
last  and  unfinished  work,  "The  Signing  of  the  Compact  on  the 
Mayflower,"  to  Yale  College. 

"White  has  good  taste,  pure  sentiment,  industry,  and  a  correct  intellectual  apprecia- 
tion of  historical  subjects.  There  is,  however,  nothing  great  or  original  in  his  art,  al- 
though as  a  whole  it  is  truer  and  more  effective  than  much  of  that  of  his  German 
teachers,  owing,  perhaps,  to  his  studies  in  Italy  ;  as  a  colorist  he  decidedly  excels  them. " 
—  Jarves,  Art  Idea. 

"  White's  knowledge  of  art  was  very  great,  and  he  was  an  assiduous  student.  His  aim 
was  the  illustration  of  historical  subjects,  and  if  he  was  not  always  successful  none  can 
dispute  the  earnestness  of  his  effort." — Art  Journal,  August,  1877. 

Whitehorne,  James,  N.  A.  (Am.)  Born  at  Wallingford,  Vt., 
1803.  He  began  the  study  of  art  about  1826,  having  no  regular  mas- 
ter, but  receiving  occasional  instruction  from  Alexander  Roberston, 
Colonel  Trumbull,  Professor  Morse,  and  William  Dunlap.  When  a 
student  of  the  schools  of  the  National  Academy,  in  1827,  the  silver 
medal  for  the  best  drawing  from  the  antique  was  awarded  him.  He 
never  had  the  advantage  of  foreign  study.  He  was  elected  a  full 
member  of  the  National  Academy  in  1833,  and  has  spent  his  pro- 
fessional life  in  the  city  of  New  York,  painting  in  Washington, 
D.  C,  in  the  winters  of  1844-46.  He  has  devoted  himself  to  por- 
trait-painting, executing  perhaps  a  larger  number  of  works  of 
that  kind  than  any  other  living  American  artist.  His  portrait  of 
Silas  Wright,  now  in  the  Governor's  Room,  City  Hall,  New  York, 
taken  after  death,  and  under  many  difficulties,  attracted  much  atten- 
tion when  completed.  He  made  the  design  for  the  mezzotint  engrav- 
ing, "  Henry  Clay  addressing  the  Senate,"  published  by  Anthony, 
Edwards  &  Co.  about  1846,  and  well  known  throughout  the  United 
States. 

Whittredge,  Worthington,  N.  A.  (Am.)  Born  in  the  State  of 
Ohio,  1820.  He  followed  mercantile  pursuits  in  Cincinnati,  but  soon 
abandoned  business  for  the  profession  of  art.  Was  at  first  a  portrait- 
painter  in  Cincinnati.  In  1850  he  went  to  Europe,  studying  in  the 
galleries  of  London  and  Paris.  In  Dusseldorf  he  became  a  pupil  of 
Andreas  Achenbach,  living  in  that  city  for  three  years.  He  studied, 
later,  in  Belgium  and  Holland,  and  went  to  Rome  in  1855,  remaining 
until  he  finally  settled  in  New  York,  in  1859,  being  elected  National 
Academician  the  same  year.  In  1866  he  made  a  sketching-tour  to 
the  Far  West  of  America,  his  "  View  of  the  Rocky  Mountains  from 
the  River  Platte,"  belonging  to  the  Century  Club,  being  one  of  the 
results  of  this  trip.  In  1874  he  was  elected  President  of  the  Acad- 
emy of  Design,  holding  the  office  for  three  years.  Among  Whit- 
tredge's  works  are,  "  Trout  Brook  at  Milford  "  (belonging  to  J.  H. 
Sherwood,  seen  in  the  National  Academy,  1869)  ;  "Trout  Brook" 
(belonging  to  H.  G.  Marquand)  ;  and  "  Sangre  di  Christo  Mountains, 
Colorado  "  (belonging  to  W.  B.  Shattuck)  ;  in  1870,  "  Evening  on 


350     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Delaware  "  ;  in  1871,  "  On  the  Hudson  "  ;  in  1872,  "  A  House  by 
the  Sea"  and  "Christmas  Eve,  Italy  "  ;  in  1874,  "  The  Camp-Meet- 
ing," "The  Morning  Stage,"  and  "After  the  Rain";  in  1875, 
"Autumn  on  the  Delaware  ";  in  1876,  "  Morning  in  the  Woods"  and 
"Evening  in  the  Woods";  in  1877,  "Paradise,"  Newport,  R.  I. 
"  The  Window,"  by  Whittredge,  belongs  to  R.  L.  Stuart ;  "  A  Hun- 
dred Years  Ago,"  to  R.  M.  Olyphant  ;  "  The  Pilgrims  of  St,  Roche," 
to  W.  B.  Smith.  His  "  Old  Hunting-Ground,"  the  property  of  J.  W. 
Pinchot,  and  his  "  Rhode  Island  Coast,"  the  property  of  A.  M.  Coz- 
zens,  were  at  the  Paris  Exposition  of  1867.  To  the  Paris  Exposition 
of  1878  he  sent  "  A  Forest  Brook  "  and  "  The  Platte  River." 

"  Whittredge  is  a  progressive  artist.  He  acquired  with  the  dexterity  some  of  the 
mannerism  of  the  Diisseldorf  school ;  but  constant  and  loving  study  of  nature  since  his 
return  from  abroad  has  modified  this  habitude.  He  is  more  original,  and  applies  his 
skill  with  deeper  sentiment.  Conscientiously  devoted  to  his  art,  for  manly  fidelity  to 
the  simple  verity  of  nature,  no  one  of  our  painters  is  more  consistently  distinguished 
than  Worthington  Whittredge."  —  Tuckerman's  Book  of  the  Artists. 

"  Mr.  Whittredge  contributed  his  '  Rocky  Mountains  from  the  Platte  River,' '  A  House 
by  the  Sea,'  'A  Hundred  Years  Ago,'  'Twilight  on  the  Shawangunk  Mountains,'  and 
'The  Old  Hunting-Grounds,'  —  the  latter  are  especially  admirable  examples  of  his  free 
nervous  style,  and  of  his  felicitous  treatment  of  wood  interiors.  Mr.  Whittredge's  pic- 
tures of  forest  solitudes,  with  their  delicate  intricacies  of  foliage,  and  the  sifting  clown  of 
feeble  rays  of  light  into  depths  of  shade  are  always  executed  with  rare  skill  and  feeling. 
His  style  is  well  suited  to  this  class  of  subjects  ;  it  is  loose,  free,  sketchy,  void  of  all 
that  is  rigid  and  formal.  It  evinces  a  subtle  sympathy  with  the  suggestive  and  evanes- 
cent qualities  of  the  landscape.  But  in  his  treatment  of  the  open  sky  this  artist  is  less 
happy.  There  is  sometimes  apparent  a  slight  crudeness  in  his  rendering  of  this  feature 
of  nature  that  is  open  to  unfavorable  criticism.  His  pictures,  however,  always  express 
a  sincere  and  true  motive. "  —  Prof.  Weir's  Official  Report  of  the  American  Centennial 
Exhibition  o/1876. 

Wichmann,  Ludwig-Wilhelm.  (Ger.)  Born  at  Potsdam  (1785 
-  1859).  Member  of  the  Academies  of  Berlin  and  St.  Luke  at  Rome. 
Member  of  the  Institute  of  France.  Pupil  of  Boye,  Unger,  and  the 
painter  Schadow.  This  sculptor  made  a  reputation  by  his  busts, 
which  are  numerous.  He  became  Professor  and  Member  of  the  Senate 
of  the  Academy  of  Berlin.  Several  groups  executed  by  him  are  seen 
in  public  places  in  Berlin. 

Wichmann,  Otto  Gottfried.  (Ger.)  Born  at  Berlin  (1828-  1858). 
Studied  at  Paris  under  Robert-Fleury.  Went  to  Italy,  where  he  died. 
At  the  National  Gallery,  Berlin,  are  his  "  Paul  Veronese  at  Venice 
and  "  Catherine  de'  Medici  in  the  Apartment  of  a  Poisoner." 

Wieder,  Wilhelm.  (Ger.)  Born  at  Sepnitz,  1818.  Pupil  of 
Otto  at  Berlin.  Has  spent  much  time  in  foreign  countries,  England, 
Russia,  France,  and  Italy.  Returned  to  Berlin  in  1873.  At  the 
National  Gallery,  Berlin,  is  his  "  Mass  at  Ara  Cceli  at  Rome." 

Wiegmann,  Marie  Elisabeth  (nee  Hancke).  (Ger.)  Bora  at 
Silberberg,  1826.  She  received  the  small  gold  medal  at  Berlin. 
Studied  at  Diisseldorf  under  Sohn.  Paints  genre  subjects  and  por- 
traits.   At  the  National  Gallery,  Berlin,  is  her  portrait  of  Karl 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  351 


Schnasse.  At  Berlin,  in  1876,  she  exhibited  "  A  Venetian  Lady," 
"  A  Young  Girl  with  Roses,"  and  "  A  French  Woman  of  1792." 

Wight,  Moses.  {Am.)  Born  in  Boston,  1827.  He  began  the 
practice  of  art  as  a  profession  in  1845,  in  his  native  city,  devoting 
himself  chiefly  to  portrait-painting.  In  1851  he  went  to  Europe, 
spending  three  years  in  study  on  the  Continent.  During  this  visit  he 
painted  Von  Humboldt  from  life,  a  picture  which  was  highly  praised 
and  exhibited  at  the  Grand  Hall  of  the  Art  Union  at  Berlin.  He 
made  a  second  trip  to  Europe  in  1860,  and  a  third  in  1865,  settling  in 
Paris,  where  he  has  since  lived.  Among  the  better  known  of  his  por- 
traits are  those  of  Agassiz,  Sumner,  Everett,  and  Josiah  Quincy  ;  and 
among  his  composition  pictures  may  be  mentioned,  "  The  Confidants," 
"  Lisette,"  "  The  Sixteenth  Century,"  "  The  Old  Cuirassier,"  "  Pet's 
First  Cake,"  and  "  John  Alden  and  Priscilla."  Many  of  his  works 
are  owned  in  Boston.    He  has  rarely  exhibited  in  public  of  late  years. 

Wight,  Peter  B.  {Am.)  Born  in  New  York,  1838.  He  studied 
architecture  under  Thomas  R.  Jackson,  and  furnished  the  designs  for 
the  New  York  Academy  of  Design  in  1862.  He  is  the  architect  of 
the  Brooklyn  Mercantile  Library,  the  School  of  Fine  Arts  connected 
with  Yale  College,  and  other  buildings,  public  and  private,  throughout 
the  country,  particularly  in  Chicago,  where  he  has  been  some  years. 

Wiles,  Lemuel  M.  {Am.)  Born  in  Wyoming  County,  N.  Y., 
1826.  Between  1848  and  '51  he  studied  under  William  Hart,  in  the 
Albany  Academy,  and  under  J.  F.  Cropsey  in  New  York  ;  drawing 
later  from  nature,  the  only  American  school  of  painting  available  to 
the  landscape-artist.  He  taught  and  worked  at  his  profession  in 
Washington,  D.  C,  Albany,  and  Utica,  N.  Y.,  until  1864,  when  he 
opened  a  studio  in  the  metropolis,  where  he  still  resides.  In  the  year 
1873  -  74  he  went  to  Panama,  California,  and  Colorado,  where  he 
executed  a  large  number  of  painted  studies,  upon  which  he  drew  for 
his  more  ambitious  works  ;  these  are  valuable  as  the  only  studies  in 
color  yet  obtained  of  the  old  mission  churches  and  cathedrals  of  those 
regions.  He  spends  the  summer  months  in  Ingham,  N.  Y.,  delivering 
annually  a  course  of  lectures  and  conducting  the  drawing  classes  in 
the  College  of  Fine  Arts  there.  His  specialty  is  landscape  and  figure- 
painting.  Among  the  more  important  of  his  works  are,  "  A  Bluster- 
ing Day  "  (storm  with  cattle,  now  in  the  possession  of  J ohn  C.  Baker, 
near  Montreal),  "  Mt.  San  Jacinto  "  (belonging  to  James  L.  Morgan  of 
Brooklyn),  "  The  Vale  of  Elms  "  (at  Ingham  University),  "  Reminis- 
cences of  Travel"  (a  miniature  gallery  of  twenty-eight  pictures,  belong- 
ing to  A.  R.  Frothingham  of  Brooklyn),  "  The  Bridal  Veil,  Yo- 
semite  "  (belonging  to  Mrs.  E.  J.  Staunton,  Le  Roy,  N.  Y.),  "  Long 
Pond,  Seneca  Lake  "  (belonging  to  J.  C.  Lord,  N.  Y.),  and  "Moonrise  " 
(the  property  of  Cardinal  McCloskey). 

"  L.  M.  Wiles  exhibited  several  pictures  ;  among  them  was  a  large  canvas  giving  a 
view  of  Washington,  D.  C. ,  from  the  Soldiers'  Home,  and  taking  in  its  sweep  a  section 


352     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  city  extending  from  Arlington  Heights  to  the  Navy  Yard.  Another  fine  subject 
was  entitled  'A  Snow-Squall,'  which  shows  the  figure  of  a  woman  carrying  a  baby,  and 
a  boy  with  his  hands  in  his  pockets  plodding  along,  and  apparently  hurried  by  the  cold 
wind.  The  figure  of  the  woman  is  well  drawn,  and  the  action  is  admirable.  This  pic- 
ture was  very  attractive."  —  New  York  Evening  Post. 

Wilkie,  Sir  David,  R.  A.  (Brit.)  Born  in  Fifeshire  (1785- 
1841).  Educated  at  the  Trustees  Academy  in  Edinburgh,  and  in  the 
Royal  Academy,  London.  He  exhibited  at  the  Royal  Academy,  Lon- 
don, for  the  first  time,  in  1806,  "  The  Village  Politician,"  a  work 
which  at  once  established  his  reputation.  This  was  followed  by 
"The  Blind  Fiddler,"  "  The  Card-  Players,"  "Rent-Day,"  "  Jew's- 
Harp,"  "  Cut  Finger,"  "  Village  Festival,"  "  Rabbit  on  the  Wall," 
"  Penny  Wedding,"  "Whisky  Still,"  "  Reading  of  the  Will,"  "Parish 
Beadle,"  "  Cotter's  Saturday  Night,"  etc.,  many  of  which  are  familiar 
to  both  hemispheres  through  the  medium  of  engraving.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1809,  and  Academician 
in  1811.  He  went  to  the  Continent  in  1825,  spending  three  years  there. 
Was  made  Painter  in  Ordinary  to  George  IV.  in  1830,  and  was 
knighted  in  1836.  He  was  also  a  member  of  the  Royal  Scottish  Acad- 
emy, and  the  King's  Limner  for  Scotland.  Many  of  his  works  are  in 
the  National  Gallery,  London.  He  stood  in  the  first  rank  of  his  pro- 
fession.   He  died  on  a  vessel  off  Gibraltar  and  was  buried  at  sea. 

Willems,  Florent.  (Belgian.)  Born  at  Liege,  1824.  Officer  of 
the  Legion  of  Honor.  Officer  of  the  Order  of  Leopold.  Pupil  of  the 
Academy  of  Malines.  When  very  young  he  worked  for  a  dealer  in 
Brussels  as  a  restorer  of  pictures.  Before  he  was  eighteen  he  found  a 
friend  and  patron  in  Sir  Hamilton  Seymour,  who  commissioned  him 
to  paint  the  portraits  of  his  wife  and  children.  In  1842  he  exhibited 
at  Brussels  "  Le  Corps-de-Garde  "  and  the  "  Music-Lesson  "  (pur- 
chased by  the  late  King  of  Belgium),  and  received  a  medal.  From 
this  time  he  gained  a  succession  of  medals,  both  at  home  and  abroad. 
He  sent  to  the  Paris  Exposition  of  1855  "  The  Interior  of  a  Silk- Mer- 
cer's Shop  in  1660  "  (purchased  by  Napoleon  III.)  and  "Coquetry  " 
(purchased  by  the  Empress).  In  1877  he  exhibited  "  Aux  armes  de 
Flandre  "  ;  in  1864,  "  L'Accouchee  "  and  "  Going  Out  "  ;  in  1863, 
"The  Widow  "and  "The  Presentation  of  the  Future";  in  1861, 
"  Au  Roi  !  "  At  the  Johnston  sale,  1876,  "  The  Reading  "  (26  by  21) 
sold  for  $  1,975.  At  the  Latham  sale,  New  York,  1878,  "No  Song, 
no  Supper  "  (24  by  19)  sold  for  $  1,150,  and  "  Jealousy  "  (28  by  21), 
for  $  1,550.  At  the  Walters  Gallerv  is  his  picture  of  "  The  Health  of 
the  King." 

"In  that  particular  department  of  art  to  which  Willems  has  almost  entirely  limited 
his  practice,  he  certainly  takes  rank  with  the  foremost  men  of  the  modern  continental 
schools.  His  pictures  are  much  in  request,  and  find  their  way  into  the  best  collections, 
both  in  his  own  country  and  in  France.  Subjects  of  a  character  so  generally  pleasing, 
and  placed  with  such  artistic  skill  and  such  persuasive  beauty  on  the  canvas,  can  never 
fail  of  finding  patrons  in  men  of  taste  and  judgment."  —  James  Dafforne,  Art  Jour- 
nal, August,  1866. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  353 


"  Men  of  taste  have  almost  worn  mourning  for  Willems.  He  made  his  debut  with  a 
pretty  picture  representing  a  blond  woman  in  a  white  satin  dress  ;  an  amateur  fell  in 
love  with  the  woman  and  the  dress,  —  a  hundred  others  wished  to  place  in  their  galleries 
the  same  woman  and  the  same  dress.  The  public  who  do  not  buy,  but  who  judge,  have 
ended  by  imagining  that  Willems  exhibited  always  one  and  the  same  picture  ;  they  no- 
ticed it  no  more.  Happily  for  us  the  commands  have  ceased,  and  the  artist, who  is,  after 
all,  an  excellent  painter,  has  felt  the  need  of  doing  something  else.  His  two  pictures  of 
this  year  ['  L'Accouchee '  and  '  La  Sortie ']  show  a  true  advance.  The  artist  has  not  only 
regained  his  commercial  value  but  also  a  large  part  of  his  legitimate  popularity.  He  paints 
well,  he  has  good  taste,  he  possesses  a  faire  miraculeux,  he  knows  to  the  end  of  his 
fingers  the  reign  of  Louis  XIII.  I  should  counsel  him  to  vary  the  heads  of  his  person- 
ages, and  not  to  become  captivated  by  such  and  such  a  model.  It  is  little  to  paint  well 
the  frippery  of  an  age ;  if  Meissonier  had  stopped  at  that  he  would  have  been  only  a 
quarter  of  Meissonier."  —  Edmond  About,  Salon  de  1864. 

Willenich,  Michel.  (Fr.)  Born  in  Egypt  of  French  parents. 
Pupil  of  G.  Boulanger,  J.  Lefebvre,  and  Kuwasseg.  To  the  Salon  of 
1878  he  contributed  "  La  passerelle  de  la  plage  de  Granville  (Manche), 
a  maree  haute "  (in  oil)  and  an  engraving  of  the  "  Roadstead  of 
Brest";  in  1876,  "The  Transatlantic  Steamer,  La  Ville  de  Paris, 
entering  the  Port  of  Havre  in  the  Storm  of  October,  1875." 

Williams,  Penry.  (Brit.)  Born  in  Wales,  1798.  Exhibited  for 
the  first  time  at  the  Royal  Academy  in  1824.  Went  to  Italy  in  1827, 
settling  in  Rome,  where  he  has  since  resided,  exhibiting,  however, 
frequently  in  England,  Italian  landscapes  and  studies  of  Italian  char- 
acter, such  as  "  The  Campagna  of  Rome,"  "  Ferry  on  the  Nimfer," 
"  The  Procession  to  the  Christening,"  "  The  Fountain,"  "  The  Con- 
valescent," and  others.  His  "  Italian  Girl  with  a  Tambourine,"  "  Ital- 
ian Peasants  resting  by  the  Roadside,"  and  "  Neapolitan  Peasants 
resting  at  a  Fountain,"  are  in  the  National  Gallery,  London. 

Williams,  Isaac  L.  (Am.)  Born  in  Philadelphia,  1817.  He 
studied  drawing  under  John  R.  Smith,  afterwards  practicing  painting 
with  John  Neagle  in  his  native  city,  where  his  entire  professional  life 
has  been  spent,  with  the  exception  of  a  visit  to  Europe  in  1866-67. 
He  was  elected  a  member  of  the  Artists'  Fund  Society  of  Philadel- 
phia in  1860,  and  a  full  member  of  the  Philadelphia  Academy  in 
1865.  Until  about  1844  he  devoted  himself  exclusively  to  portrait- 
painting  ;  since  then  he  has  given  equal  or  greater  attention  to  land- 
scapes, confining  himself  to  moderate-sized  cabinet  pictures,  which  are 
owned  in  Philadelphia  and  elsewhere.  His  "  October  "  and  "  View 
near  Meriden,  Ct."  were  at  the  Centennial  Exhibition  of  1876. 

"  Mr.  Williams'  pictures  are  generally  in  a  low  key,  and  they  therefore  frequently 
escape  the  notice  of  visitors  to  exhibitions  or  galleries  filled  with  brighter-colored  works. 
But  carefully  examined  they  will  be  found  to  better  repay  inspection  than  some  per- 
formances that  appear  more  striking  at  first  sight.  Mr.  Williams  excels  in  the  rendition 
of  the  delicate  pearly  effects  that  are  characteristic  of  some  of  the  most  poetical  phases 
of  nature."  —  Philadelphia  Evening  Telegraph. 

Williams,  Frederick  D.  (Am.)  Born  in  Boston.  He  was  at 
one  time  a  professor  of  drawing  in  the  public  schools  of  Boston,  but 


354     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


has  lived  for  a  number  of  years  in  Paris.  He  sent  to  the  Paris  Salon 
in  1878,  "  Farmyard  at  Finistere  "  and  a  scene  at  Pont  Aven.  He 
devotes  himself  to  landscapes  and  figures,  and  has  exhibited  at  the 
Boston  Art  Club,  at  the  Academy,  New  York,  and  elsewhere.  Many 
of  his  works  are  owned  in  his  native  city,  where  they  meet  with  a 
ready  sale.  To  the  Paris  Exposition  of  1878  he  sent  "  The  Marne  "  ; 
to  the  Exhibition  of  the  Society  of  American  Artists,  the  same  year, 
"  The  Shepherdess  and  her  Flock." 

Williams,  Mrs.  Frederick  D.  (nee  Lunt).  (Am.)  Born  in  Boston. 
Wife  of  the  foregoing.  She  drew  in  crayon  the  "  Past,"  u  Present," 
and  "  Future,"  familiarly  known  throughout  the  United  States  by  the 
lithograph  copies,  which  are  the  same  size  as  the  originals.  Since  her 
marriage  she  has  occupied  a  studio  in  Paris,  with  her  husband,  paint- 
ing cattle  and  figure-pieces  in  oil. 

Williamson,  Daniel  Alexander.  (Brit.)  Born  in  Liverpool, 
1823.  A  landscape-painter  in  water-colors.  He  first  exhibited  at 
the  Royal  Academy  in  1850,  living  for  some  years  in  London.  About 
1861  he  left  the  metropolis,  painting  since  then,  to  a  great  extent,  in 
the  open  air.  Among  his  works  may  be  mentioned  "  Plowing  "  and 
"  Broughton  Moor." 

Williamson,  John,  A.  N.  A.  (Am.)  Born  in  Scotland,  1826. 
Taken  to  America  by  his  family.  Resident  of  Brooklyn,  L.  I. 
Member  of  Brooklyn  Art  Association,  and  its  secretary  for  some 
years.  Associate  of  the  National  Academy,  and  member  of  the  Art- 
ists' Fund  Society.  Among  his  earlier  works  are,  "  American  Trout," 
"  Trout-Fishing,"  "  Summit  of  Chocorua,  —  Twilight,"  and  "  Autumn 
in  the  Adirondacks."  In  1867  he  sent  to  the  National  Academy, 
"  The  Hanging  Hills  from  Wallingford,  Ct."  ;  in  1869,  "  A  Passing 
Shower,  Connecticut  Valley,"  and  "  Bread  and  Cheese "  ;  in  1870, 
"  Hook  Mountains,  Hudson  River  "  (belonging  to  William  M.  Tweed) ; 
in  1871,  "The  Return  of  the  Hunters"  ;  in  1873,  "A  Reminiscence 
of  Berkshire  County  "  ;  in  1874,  "  The  Daniel  Drew  "  and  "  The  C. 
Vibbard";  in  1876,  "From  Glenwood,  Hudson  River";  in  1877, 
"  After  the  Storm,  Blue  Ridge"  ;  in  1878,  "  In  the  Mohawk  Valley  " 
and  "  Sugar-Loaf  Mountain." 

Willis,  Henry  Brittan.  (Brit.)  Born  in  Bristol.  Was  a  pupil 
of  his  father,  a  landscape-painter  in  his  native  town.  The  younger 
Willis,  after  painting  for  some  years  in  Bristol,  spent  a  year  in 
America,  but  returned  to  England  in  1843,  and  settled  in  London, 
where  he  still  resides.  He  is  an  active  member  of  the  British  Society 
of  Painters  in  Water-Colors,  and  has  contributed  to  its  gallery  of  late 
years,  among  others,  "  Harvest-Time  in  the  South  of  Sussex,"  "  A 
Welsh  Homestead," in  1872;  "  Sheep-Pastures  near  Ballachulish  "and 
"  Early  Morning  Effect  on  Ben  Nevis,"  in  1873  ;  "  A  Cloudy  Day  in 
the  Highlands"  and  "  Snow  in  Harvest," in  1875  ;  "  A  Harvest  Scene 
near  Broadstairs,  Kent,"  "  Plowing-Time,  Sussex,"  in  1877  ;  "  Group 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  355 


of  Cattle  near  Burnham  "  and  "  A  Scene  on  the  Wye,"  in  1878.  In 
1861  he  sent  to  the  Royal  Academy  "A  Rest  on  the  Road  to  the 
Fair  "  and  "  Cattle  on  the  Sands,  North  Wales,"  but  his  name  has  not 
been  seen  in  the  Royal  Academy  Catalogue  since  that  year.  Two  of 
Willis'  water-colors  were  at  the  Centennial  Exhibition  of  1876,  "  A 
Group  of  Cattle  on  the  Banks  of  the  Hamble  "  and  "  A  Group  of 
Highland  Cattle  in  Glen  Nevis,"  the  latter  belonging  to  the  Mar- 
chioness of  Lome.     [Died,  1884.] 

"  *  Evening  Effect  on  the  Wye '  [London,  1877]  is  a  very  beautiful  piece  of  cattle-paint- 
ing and  landscape  by  Brittan  Willis,  a  little  opaque  and  over-smooth,  but  full  of  light  and 
color." — Art  Journal,  February,  1877. 

Willmore,  James  T.,  A.  R.  A.  {Brit.)  (1800  -  1863.)  He  be- 
gan his  professional  life  in  Birmingham  under  William  Radcliffe,  a 
well-known  engraver  there.  About  1825  he  went  to  London,  work- 
ing for  some  time  with  Charles  Heath.  He  executed  many  plates 
after  Turner,  Eastlake,  Landseer,  and  others,  and  his  work  is  highly 
regarded  by  connoisseurs.  He  was  an  Associate  of  the  Royal 
Academy  for  twenty  years  before  his  death. 

Willmore,  A.  (Brit.)  Native  of  Birmingham.  Younger  brother  of 
James  T.  Willmore,  A.  R.  A.,  with  whom  he  was  associated  for  some 
years.  Among  his  plates  are,  "  Agrippina  landing  the  Ashes  of  Ger- 
manicus,"  after  Turner  ;  "  The  Royal  Volunteer  Review,  Edinburgh," 
after  Samuel  Bough  ;  "  The  Word  of  God,"  after  H.  L.  Roberts  ;  «  The 
Pleasant  Walk,"  after  J.  C.  Hook  ;  "  Old  Churchyard,  Bettws-y-coed," 
after  Creswick  ;  "  A  Calm  Evening "  and  "  A  Squally  Morning," 
after  David  Cox  ;  "  Dutch  Boats  landing  Fish,"  after  E.  W.  Cooke  ; 
"  Wreck  off  Whitby,"  after  E.  Duncan;  etc. 

Wilmarth,  Lemuel  E.,  N.  A.  (Am.)  Born  in  Massachusetts. 
In  his  youth  he  was  a  watchmaker  in  Philadelphia,  studying  art  from 
life  and  the  antique  in  the  Academy  of  Fine  Arts  of  that  city.  In 
1859  he  went  to  Munich,  where  he  entered  the  Antique  School,  then 
under  the  direction  of  Kaulbach,  remaining  until  his  return  to  America 
in  1862.  In  1864  he  went  to  Paris,  became  an  inmate  of  the  atelier 
of  Gerome,  and  sent  several  important  works  to  the  National  Acad- 
emy, New  York,  "  Sparking  in  the  Olden  Time,"  "  Playing  Two 
Games  at  Once,"  "  Little  Pitchers  have  Big  Ears,"  "  The  Last  Hours 
of  Captain  Nathan  Hall,"  etc.  In  1867  he  returned  to  New  York  ; 
in  1868  he  took  charge  of  the  schools  of  the  Brooklyn  Academy  of  De- 
sign, and  in  1870  he  was  appointed  Professor  of  the  free  schools  of 
the  National  Academy,  a  position  he  held  for  some  years.  Wilmarth 
sent  to  the  National  Academy,  in  1869,  "The  Home  Missionary"  ; 
in  1871,  when  he  was  elected  Associate,  "  An  Afternoon  at  Home"  ; 
in  1873,  "  Guess  what  I 've  brought  you,"  a  picture  which  insured 
his  election  as  an  Academician  ;  in  1874  he  exhibited  "  Left  in 
Charge";  in  1875,  "Ingratitude";  in  1876,  "There's  Music  in  all 
Things  if  Men  have  Ears"  ;  in  1877,  "A  Study  of  Peaches."  His 
"  Ingratitude  "  was  at  the  Paris  Exposition  of  1878. 


356     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


"  Mr.  Wilmarth  is  one  of  the  most  painstaking  artists  belonging  to  the  National  Acad- 
emy. His  historical  pictures  show  deep  thought  and  study  in  their  composition  ;  and 
every  detail  is  worked  out  with  conscientious  care.  His  subjects  relating  to  every-day 
life  are  generally  invested  with  pleasing  fancy,  and  their  story  is  always  plainly  ex- 
pressed. His  style  of  coloring  is  brilliant,  and  in  his  manner  of  manipulation  his  pic- 
tures are  suggestive  of  the  French  school  in  which  he  was  educated,  but  suggestion  in 
no  wise  impairs  their  individuality."  —  ^^  Journal,  September,  1875. 

Wilms,  Peter  Josef.  (Ger.)  Born  at  Bilk,  near  Diisseldorf, 
1814.  Studied  at  Diisseldorf  Academy.  In  1848  he  went  to  Am- 
sterdam and  remained  a  year.  At  the  National  Gallery,  Berlin,  is  a 
picture  of  "  Still-Life  "  by  Wilms. 

Winne,  Lievin  de.  (Belgian.)  Born  at  Ghent.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Devigne.  At  the  Salon  of  1877  he 
exhibited  a  portrait  of  "  Leopold  II.  King  of  Belgium,"  belonging  to 
the  King  of  Belgium.  In  1872  his  portrait  of  Mr.  Sanford,  the  Amer- 
ican minister  at  Brussels,  was  much  admired.  This  artist  has  painted 
many  notable  persons,  and  his  pictures  are  characterized  by  simple 
elegance  and  agreeable  color.    [Born,  1821  ;  died,  1880.] 

Winter,  L.  de.  (Dutch.)  At  the  Johnston  sale,  New  York,  1876, 
"  Moonlight  on  the  Dutch  Coast"  (27  by  36)  sold  for  $  560. 

Winter,  Pharaon-Abdon-Leon  de.  (Fr.)  Born  at  Bailleul. 
Pupil  of  Cabanel.  To  the  Salon  of  1878  he  sent  "  An  Old  Woman 
in  Prayer"  and  "The  Return  of  the  Hop-Picker,  —  Saturday  Even- 
ing"; in  1877,  a  portrait  and  "Judith"  ;  and  in  1876,  "The  Prodi- 
gal Son." 

Winterhalter,  Franqois  Xavier.  (Ger.)  Born  at  Baden  (1806- 
1873).  Officer  of  the  Legion  of  Honor.  Studied  at  Munich  and 
Rome,  where  he  spent  several  years,  and  settled  in  Paris  in  1834. 
He  also  traveled  frequently,  and  visited  Germany,  England,  and 
Spain,  and  left,  wherever  he  went,  numerous  portraits.  His  genre 
pictures  are  not  numerous,  and  he  executed  a  few  engravings  and 
lithographs.  He  was  a  favorite  portrait-painter  in  the  circles  of 
royalty  and  high  life.  His  composition  and  arrangement  of  his  pic- 
tures was  very  happy.  Among  his  portraits  are  those  of  Louis  Phi- 
lippe and  his  Queen  and  all  the  members  of  the  family  of  Orleans, 
Prince  Wagram,  Napoleon  III.  and  the  Empress  Eugenie  and  their 
son,  the  Grand  Duchess  Helen  of  Russia,  etc.  A  few  days  before  his 
death  this  artist  made  his  will,  in  which  he  desired  that  twelve  pic- 
tures which  he  had  allowed  no  one  to  see  should  not  be  given  to  the 
public  until  fifty  years  after  his  death.  He  did  this  in  order  that  at 
last  a  judgment  should  be  formed  of  him  as  an  artist  without  the  influ- 
ence of  personal  prejudice.  He  says  :  "  Many  painters  are  praised  to 
the  skies  during  their  lifetime,  and  yet  several  years  after  they  have 
passed  away  few  will  care  to  look  at  the  works  they  have  left.  Espe- 
cially is  this  the  case  with  those  painters  who  enjoy  the  favor  of 
kings  and  emperors.  It  is  unjust  that  they  should  be  made  to  suffer 
for  it.    To  my  own  lot  has  it  fallen  to  be  treated  with  extreme  kind- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  357 


ness  by  such  exalted  personages.  Should  I  be  on  that  account  denied 
the  position  in  art  for  which  I  have  striven  so  long  and  zealously  1 " 
The  wishes  of  Winterhalter  were  disregarded  ;  the  heirs  obtained 
leave  from  the  court  to  open  the  boxes,  and  found  a  portrait  of  Prince 
Clement  Metternich,  walking  in  his  splendid  garden  at  Johannisberg; 
attached  to  it  was  a  parchment  with  these  words  :  "  I  painted  this 
portrait  in  1858.  I  was  so  pleased  with  it  that  I  resolved  to  keep  it." 
There  were  also  two  battle-scenes  from  the  Austro-German  war  of 
1866,  both  very  spirited,  four  landscapes,  three  flower-pieces,  a  por- 
trait of  Pauline  Viardot  Garcia,  of  whom  Winterhalter  was  an 
admirer,  and  another  of  Queen  Caroline  of  England,  painted  from  a 
miniature  in  the  Art  Museum  at  Brunswick.  This  last  was  painted 
in  1869,  and  was  much  admired  by  those  who  were  present  at  the 
opening  of  these  boxes  ;  it  is  a  masterpiece.  Of  the  landscapes,  two 
were  views  in  the  Isle  of  Wight,  of  which  Winterhalter  was  very 
fond.  One  of  the  remaining  two  was  called  "  Stubbenkanimer,  on 
the  Island  of  Riigen  ";  the  other,  "  The  Tannus  Valley." 

"  I  take  first  of  all  the  portrait  of  the  Prince  Imperial.  Certainly  Winterhalter  ought 
not  to  be  considered  as  an  ordinary  artist ;  the  favor  which  he  enjoys  with  the  princes 
of  Europe  and  even  with  the  good  public  should  not  be  attributed  to  a  universal  mis- 
take. Twenty-five  or  thirty  millions  of  individuals  do  not  agree  upon  the  same  foolish- 
ness at  the  same  moment.  Winterhalter  has  talent ;  he  has  proved  it  more  than  once  ; 
he  excels  often  in  rendering  the  elegance  and  brilliancy  of  a  pretty  woman.  He  knows 
how  to  pose,  to  adjust,  to  dress  magnificently  certain  models  ;  he  has  made  some  por- 
traits which  can  bear  comparison  with  Lawrence  and  all  of  the  most  aristocratic  paint- 
ing which  England  has  produced  ;  but  his  exposition  this  year  is  below  mediocrity.  He 
cannot  throw  the  fault  on  his  models.  He  had  to  paint  a  beautiful  child  whom  all  Paris 
knows,  whom  nearly  twenty  thousand  babies  saw  last  Sunday  in  the  garden  with 
his  father  and  mother  ;  he  has  made  of  him  a  cold  doll,  without  blood,  the  eye  dimmed, 
the  physiognomy  dull,  badly  adjusted  ;  moreover,  no  one  walks  in  the  costume  of  the 
city  with  a  musket,  since  the  bisets  are  excluded  from  the  National  Guard.    The  other 

portrait  is  not  in  the  Salon  of  Honor  It  is  the  crime  of  treason  to  beauty,  no 

more  nor  less.  One  is  able,  I  believe,  without  being  a  flatterer  to  render  justice  to  the 
figure  of  a  truly  beautiful,  elegant,  and  graceful  woman.  What  above  all  distinguishes 
the  amiable  model  sacrificed  by  the  brush  of  Winterhalter  is  an  incredible  fineness  of 
skin,  a  mother-of-pearl  flesh,  a  general  tone  of  exquisite  delicacy.  One  thinks,  in  spite 
of  himself,  of  those  goddesses  of  Homer  who  bled  ambrosia  when  the  sharp  metal 
grazed  their  delicate  members.  Correggio  alone,  or  our  Prud'hon,  could  express  in 
color  this  fine  flower  of  feminine  sweetness.  Winterhalter  has  taken,  I  know  not  whence, 
some  tones  of  washed  flesh,  —  rewashed  and  soaked  in  water.  His  picture  is  almost  like 
a  painting  on  porcelain ;  it  has  not  even  the  compensation  of  the  freshness  and  the 
smile  of  enamel."  —  Edmond  About,  Salon  o/1864. 

Wintz,  Guillaume.  (Prussian.)  Born  at  Cologne,  naturalized 
Frenchman.  Pupil  of  A.  Holland.  At  the  Paris  Salon  of  1878  he 
exhibited  "  Troupeau  de  moutons  rentrant  par  une  barriere  "  and 
"  Cows  in  a  Barnyard,  in  Lorraine  "  ;  in  1877,  "  A  Flock  of  Sheep  "; 
and  in  1876,  "  A  Pasture  near  Saint- Arnold,  —  Morning  Effect." 

Wislicenus,  Hermann.  (Ger.)  Born  at  Eisenach,  1825.  Studied 
under  Professor  Muller  and  at  the  Dresden  Academy.  His  first 
work,  "  Abundance  and  Poverty,"  is  in  the  Gallery  of  Dresden.  The 


358     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Grand  Duke  of  Saxony  assisted  him  to  go  to  Italy,  where  he  remained 
from  1854  to  '57.  After  his  return  he  settled  at  Weimar  until,  in 
1868,  he  was  called  as  Professor  to  Diisseldorf.  When  the  Academy 
there  was  burned  Wislicenus  lost  a  large  part  of  the  result  of  his  life's 
labors.  At  the  Roman  House  in  Leipsic  are  some  of  his  wall-paint- 
ings, illustrating  scenes  from  Roman  history.  Some  of  his  decora- 
tive works  of  a  religious  character  are  in  the  Castle  Chapel  of  Weimar, 
and  in  other  churches.  At  the  National  Gallery,  Berlin,  are  his  pic- 
tures of  the  "  Four  Seasons  "  ;  in  the  Leipsic  Museum  are  some  of  his 
sketches  for  his  large  works. 

Witherington,  William  Frederick,  R.  A.  (Brit.)  (1785- 
1865.)  Brought  up  to  mercantile  pursuits,  but  early  displayed  a 
taste  for  art,  studying  diligently  in  his  leisure  moments.  He  finally 
devoted  himself  to  painting  as  a  profession,  and  sent  his  first  picture 
to  the  Royal  Academy,  "  Going  out  in  the  Morning,"  in  1812,  con- 
tributing regularly  thereafter  to  its  exhibitions  for  over  forty  years. 
He  was  elected  an  Associate  of  the  Royal  Academy  in  1830,  and 
Academician  in  1840,  and  was  placed  on  the  list  of  Honorary  Retired 
Academicians  in  1863.  Among  his  earlier  works  are,  "The  Soldier's 
Wife,"  "  Don  Quixote  and  Sancho  Panza,"  "  John  Gilpin,"  and 
many  views  of  English  scenery.  Among  his  later  productions  may 
be  mentioned,  "  Gleaners  Returning,"  "  Resting  by  the  Way," 
"  Harvest-Time,  —  Noon,"  "  Lynmouth,  North  Devon,"  "  Harvesting 
in  the  Vale  of  Conway,"  "  Stacking  Hay,  North  Wales,"  "  The  Way 
to  the  Village,"  etc.  His  "  Hop  Garden  "  is  in  the  Sheepshanks  Col- 
lection ;  the  "Hop  Garland  "  and  "  The  Stepping-Stones  "  are  in  the 
National  Gallery,  London,  bequeathed  by  Mr.  Vernon. 

Wittig,  Hermann  Friedrich.  (Ger.)  Born  at  Berlin,  1819. 
Studied  at  the  Berlin  Academy  and  under  Tieck.  Has  visited  Paris 
and  Rome.  Lives  in  Berlin.  His  works  are  numerous,  both  ideal 
subjects  and  portraits.  At  the  National  Gallery,  Berlin,  there  is  a 
group  called  "  Germany  protecting  the  Arts,"  executed  by  Wittig 
after  a  model  by  Schultz.  In  Berlin,  in  1871,  he  exhibited  "A  Lis- 
tening Nymph,"  and  in  1876,  "  Mignon." 

Wittig,  Friedrich  August.  (Ger.)  Born  at  Meissen,  1826.  Mem- 
ber of  the  Academies  of  Diisseldorf  and  Carrara.  Medals  at  Berlin 
and  Vienna.  Studied  under  E.  Rietschel  at  Dresden.  He  has  visited 
Rome.  In  1864  he  went  to  Diisseldorf  to  act  as  director  of  a  school 
of  sculpture.  His  subjects  are  mostly  mythological,  or  taken  from 
the  Old  Testament.  He  loves  purely  classical  art,  and  endeavors  to 
show  this  in  his  works.  At  the  National  Gallery,  Berlin,  are  his 
"  Hagar  and  Ishmael "  and  a  colossal  bust  of  "  Peter  Cornelius." 
Some  of  his  works  are  in  the  Museum  of  Leipsic. 

Wolf,  Emil.  (Ger.)  Born  at  Berlin,  1802.  President  of  the 
Academy  of  St.  Luke  at  Rome.  This  sculptor  studied  under  J.  G. 
Schadow.    He  went  to  Rome  in  1822,  where  he  occupied  the  studio 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  359 


of  Rudolf  Schadow,  and  completed  many  of  the  works  left  unfinished 
at  the  death  of  that  artist.  Wolf  is  a  follower  of  Thorwaldsen,  but  has 
also  some  traits  like  Gottfried  Schadow.  He  affects  representations 
of  female  beauty.  At  the  National  Gallery,  Berlin,  is  his  "Judith." 
At  Berlin,  in  1871,  he  exhibited,  "  A  Young  Roman  Matron  taking 
off  her  Jewels  to  give  them  for  her  Country."    [Died,  1879.] 

Wood,  John.  (Brit.)  (1801  - 1870.)  Son  of  an  artist,  from  whom 
he  received  his  first  lessons  in  drawing.  He  entered  the  schools  of 
the  Royal  Academy  in  1819,  and  exhibited  his  first  picture,  "Adam 
and  Eve  lamenting  over  the  dead  Body  of  Abel,"  in  1823.  In  1825 
he  gained  the  Royal  Academy  gold  medal  for  a  picture  called  "  Jo- 
seph expounding  the  Dreams  of  Pharaoh's  Butler  and  Baker." 
Among  his  earlier  works  may  be  mentioned,  "The  Orphans,"  "The 
Dream  of  Endymion,"  "  Elizabeth  in  the  Tower  after  the  Death  of 
Queen  Mary,"  etc.  His  later  pictures  were  chiefly  of  a  religious 
character. 

Wood,  George  B.,  Jr.  (Am.)  Born  in  Philadelphia,  1832.  His 
entire  professional  life  has  been  spent  in  his  native  city.  He  was 
educated  at  the  Pennsylvania  Academy  of  Fine  Arts,  of  which  he  is 
now  an  active  member.  He  is  also  a  member  of  the  Artists'  Fund 
Society  of  Philadelphia.  Among  his  works  may  be  mentioned,  "  Early 
Spring  "  (belonging  to  G.  C.  Thomas).  "  Freddy  Flechtenstein's  Shop  " 
(belonging  to  D.  Haddock,  Jr.),  the  "Interior  of  G.  W.  Childs' 
Private  Office  "  (belonging  to  Mr.  Childs),  "  Interior  of  the  Philadel- 
phia Library  "  (belonging  to  George  Whitney),  and  "  The  Hunter  in 
Luck  "  (the  property  of  Mr.  Harrison). 

"  The  subdued  but  rich  colors  which  abound  in  this  room  ['  Office  of  G.  W.  Childs '] 
have  afforded  the  artist  abundant  opportunities  for  the  employment  of  all  the  resources 
of  his  palette,  and  he  has  produced  a  picture  which  is  highly  interesting  in  itself,  and 
apart  from  its  subject.  This  is,  in  fact,  one  of  the  best  of  Mr.  Wood's  very  excellent 
representations  of  interiors.  It  is  painted  with  great  conscientiousness  throughout,  and 
it  has  evidently  had  an  immense  amount  of  labor  and  skill  expended  upon  it."  —  Phila- 
delphia Evening  Telegraph,  December  21,  1877. 

Wood,  Marshall.  (Brit)  This  sculptor  is  a  resident  of  London. 
He  exhibits  at  the  Royal  Academy.  His  marble  bust  of  a  woman, 
called  "  The  Song  of  the  Shirt,"  was  exhibited  in  Boston  some  years 
ago  and  sold  there.  It  was  considered  as  very  characteristic  of  the 
English  school.  Of  it,  the  "  Gazette  des  Beaux- Arts  "  says,  "  The  pro- 
duction of  the  English  sculptor  is  finely  featured,  in  truth,  almost 
captivating.  After  a  cry  of  anguish  Marshall  Wood  has  made  a  sweet 
ballad."  Among  his  works  of  an  ideal  character  are,  "  The  Siren  " 
(1871),  "Hebe"  (a  group),  and  "  Musidora "  (1870).  His  statue  of 
the  Queen  was  unveiled  in  Victoria  Square,  Montreal,  by  Earl  Duf- 
ferin.  His  "  Nymph  at  the  Bath  "  sold  for  330  guineas.  He  has 
made  several  busts  of  the  Prince  of  Wales.  One  of  these,  of  colossal 
size,  is  in  the  Guildhall,  London.    [Died,  1882.] 

Wood,  Thomas  W.,  N.  A.    (Am.)    Born  at  Montpelier,  Vt. 


360     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Studied  from  nature  in  the  neighborhood  of  his  native  city,  and 
painted  portraits  there  until  1857,  when  he  went  to  Boston,  entering 
the  studio  of  Chester  Harding.  Here  he  remained  but  a  few  months, 
when  he  went  to  Paris  and  there  opened  a  studio.  He  made  short 
trips  to  Italy  and  Switzerland,  and  returned  to  America  in  1860. 
He  painted  portraits  in  Louisville,  Ky.,  and  Nashville,  Tenn.,  until 
1867,  when  he  settled  in  New  York.  He  was  made  an  Associate  of 
the  National  Academy  the  same  year,  Academician  in  1871,  and  was 
one  of  the  early  members  of  the  Water-Color  Society.  In  1867  he 
sent  to  the  National  Academy,  "  The  Sharp-Shooter,"  "  The  Recruit," 
"  The  Veteran,"  a  series  of  war-sketches  ;  in  1868,  "  The  Contraband 
Volunteer  "  and  "  Politics  in  the  Workshop  "  ;  in  1869,  "  The  Country 
Doctor  "  (belonging  to  J.  P.  Osgood)  ;  in  1870,  "  Return  of  the  Flag"  ; 
in  1871,  "  Cogitation  "  (bought  by  Fletcher  Harper)  ;  in  1874,  "  The 
Wood-Sawyer";  in  1875,  "The  Weekly  Paper"  and  "A  Quiet 
Smoke";  in  1876,  "Truants";  in  1877,  "Sunday  Morning"  and 
"Grandma's  Bonnet"  ;  in  1878,  "Not  a  Drop  too  Much."  To  the 
Water-Color  Exhibition  of  1874  he  sent  "A  Poor  White"  ;  in  1875, 
"  Nominated  "  and  "  Style  "  ;  in  1876,  "  Shine,"  "  Waiting  for  a  Job," 
and  "  No  Smoking  Allowed"  ;  in  1877,  "Arguing  the  Question"  and 
"Hospitality";  in  1878,  "The  Stolen  Glance"  and  "Crossing  the 
Ferry."  "The  Veteran,"  "The  Recruit,"  and  "The  Contraband" 
(belonging  to  C.  S.  Smith),  and  "  The  Leader's  Call "  (in  water-color) 
were  at  the  International  Exhibition  at  Philadelphia  in  1876  ;  and 
"  The  Veteran,"  "  The  Recruit,"  and  "  The  Contraband,"  at  the  Paris 
Exposition  of  1878. 

"  Wood's  pictures  of  the  different  phases  of  war-life  of  the  Southern  negro  during 
the  Rebellion,  cleverly  executed,  tell  their  own  story  and  appeal  to  the  popular  taste."  — 
Tuckerman's  Book  of  the  Artists. 

"As  a  colorist  Wood  is  forcible,  and  as  a  delineator  of  character  he  never  accepts  the 
ideal,  but  goes  direct  to  nature  for  his  models.  In  the  composition  of  a  picture  every 
object  is  clearly  drawn,  and  he  secures  attention  by  the  directness  of  his  story."—  Art 
Journal,  April,  1876. 

Woodington,  William  F.,  A.  R.  A.  (Brit.)  Born  near  Birming- 
ham, 1806.  At  the  age  of  twelve  he  was  articled  to  Robert  Lievier, 
engraver,  under  whom  he  studied  drawing,  etc.  Later,  when  his 
master  became  a  sculptor,  Mr.  Woodington  also  turned  his  attention 
to  that  branch  of  the  art,  studying  from  life  at  evening  schools  for 
years.  At  the  age  of  fourteen  he  gained  a  silver  medal  from  the 
Society  of  Arts,  and  he  received  a  prize  of  £  500  in  the  competition  for 
the  Wellington  Monument  after  the  death  of  that  statesman.  Mr. 
Woodington  has  spent  his  professional  life  in  London,  and  has  been 
an  Associate  of  the  Royal  Academy  since  1876. 

He  executed  bas-relievos  for  the  Nelson  Monument,  in  bronze  ;  bas- 
relievos,  in  marble,  for  the  decoration  of  the  chapel  in  St.  Paul's 
Cathedral,  in  which  the  Wellington  Monument  is  placed  ;  statue  of 
James  Steele,  editor  of  the  Carlisle  Journal,  now  in  Carlisle  ;  statues 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  361 


of  Captain  Cook,  Sir  Walter  Raleigh,  Columbus,  Drake,  Mercator, 
Galileo  (each  eight  feet  in  height),  and  other  sculptures  for  the  Royal 
Exchange  at  Liverpool  ;  colossal  bust  of  Paxton,  at  the  Crystal  Pal- 
ace ;  two  statues  of  the  Old  Barons,  for  the  House  of  Lords  ;  etc. 

Woolner,  Thomas,  R.  A.  (Brit.)  Born,  1825.  Among  the 
better  known  of  his  works  are  a  statue  of  Macaulay,  at  Cambridge  ; 
statues  of  the  Prince  Consort  and  Lord  Bacon,  at  Oxford  ;  of  Pal- 
merston,  Palace  Yard  ;  William  III.,  in  the  House  of  Parliament  ; 
busts  of  Darwin,  Tennyson,  Cobden,  Gladstone,  Dickens,  Carlyle, 
Charles  Kingsley  (in  Westminster  Abbey),  and  many  more  ;  also, 
"  Puck,"  "  Love,"  "  Death  of  Boadicea,"  "  Constance  and  Arthur," 
"Virgilia,"  "Ophelia,"  "In  Memoriam,"  "  The  Lord's  Prayer,"  and 
other  ideal  works. 

He  was  elected  an  Associate  of  the  Royal  Academy  in  1871,  Acad- 
emician in  1874,  and  Professor  of  Sculpture  in  1877. 

"  The  sculptor  among  ourselves  who  has  the  best  insight  into  the  conditions  and 
needs  of  his  art  is  Woolner.  He  sends  to  the  Royal  Academy  this  year  [1873]  a  remark- 
ably line  statue,  representing  Dr.  Whewell  of  Trinity  College,  Cambridge.  The  mold- 
ing of  the  head  is  massive  and  grand  ;  the  expression  of  the  face  individual  without 
narrowness.  With  the  force  and  intellect  of  a  portrait,  the  whole  composition  would 
seem  to  take  also  something  of  ideal  influence."  —  Art  Journal,  September,  1873. 

"  Mr.  Woolner's  portraits  are  alive  and  energetic  (perhaps  in  some  cases  a  little  to 
excess).  We  see  a  mouth  that  will  open,  an  eyelid  whose  upper  line  is  not  a  boundary 
but  a  movable  fold.  In  the  eye  of  Tennyson  there  is  rapt  attention  that  more  than 
sees.  In  Gladstone,  with  scholarly  refinement,  there  is  indomitable  will ;  and  in  Car- 
lyle the  poetry  of  introspection."  —  John  L.  Tupper,  in  English  Artists  of  the  Present  Day. 

Worms,  Jules.  (Fr.)  Born  at  Paris,  1837.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Lafosse.  Made  his  debut  at  the  Salon 
of  1859.  One  of  his  first  pictures  foretold  his  success  in  the  humorous 
vein.  It  was  called  "  A  Dragoon  making  Love  to  a  Nursery-Maid  on 
a  Bench  in  the  Place  Royale."  In  1861  he  exhibited  "Arrested  for 
Debt."  He  afterwards  traveled  in  Spain,  and  collected  many  sketches 
of  the  life,  manners,  and  costumes  there.  The  water-colors  of  this 
painter  are  much  prized  by  amateurs.  In  1877  he  exhibited  "  The 
Fountain  of  the  Bull  at  Granada  "  (belonging  to  Miss  Wolfe  of  New 
York),  "  The  Chosen  Flower,"  and  four  water-colors  (a  portrait,  "  The 
Cage," "  The  Well,"  and  "The  Toilette  of  a  little  Danseuse");  in 
1876,  "The  Dance  of  the  Vito  at  Granada"  (belonging  to  the  late 
Mr.  Stewart)  and  "  The  Departure  for  the  Review  "  ;  in  1875,  "  Une 
nouvelle  a  sensation"  and  "A  Vocation"  ;  in  1874,  "The  Horse- 
Jockey,  Granada  "  and  "  The  Little  Cabinet-Maker  ";  in  1873,  "  Une 
tante  a  succession  "  and  a  "  Portrait  of  Mile.  Priston  "  ;  in  1872,  "  The 
Shearers  at  Granada  "  ;  in  1870,  "  The  Sale  of  a  Mule  "  and  a  "  Letter- 
Box."  At  the  Johnston  sale  his  "  Waiting  at  the  Rendezvous  "  (16 
by  12)  sold  for  $  400.  His  "  Romance  a  la  Mode  "  (1868)  is  in  the 
Luxembourg. 

Worth,  Thomas.  (Am.)  Born  in  New  York,  in  1839.  He 
studied  drawing  in  the  school  of  Mr.  Wells  in  New  York,  and  has 

YOJj.  II.  13  8 


362     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


spent  his  professional  life  in  that  city.  He  was  first  brought  into 
public  notice  as  a  caricaturist  in  1862,  when  he  furnished  the  illus- 
trations for  a  humorous  work  entitled  "  Plutarch  Restored,"  published 
and  edited  by  G.  W.  Nichols.  Mr.  Worth  drew  the  pictures  on  stone, 
and  the  descriptive  articles  were  written  by  John  R.  Brady,  James  T. 
Brady,  and  other  distinguished  men.  During  the  past  ten  years  he 
has  made  many  comic  designs  for  the  periodicals  of  the  Harpers  and 
other  publishing-houses,  besides  drawing  designs  of  horses  of  a  hu- 
morous character  for  colored  lithographs.  His  more  elaborate  water- 
colors  and  pen-and-ink  drawings  are  owned  by  Judge  Brady,  Judge 
Noah  Davis,  George  Watson,  David  Leavitt,  Jr.,  Fletcher  Harper, 
Nathaniel  Jarvis,  and  others. 

"  ....  Is  it  not  then  time  to  say  or  do  something  about  the  hoary  old  historian 
Plutarch?  Mr.  T.  Worth  has  thought  it  worth  his  while  to  do  something  ;  and  as  he 
recognizes  the  power  of  the  pencil  rather  than  the  pen,  he  has  undertaken  in  '  Plutarch 
Restored  '  to  illustrate  the  illustrious  of  Greece  and  Rome.  He  furthermore  calls  his 
book  '  An  Anachronatic  Metempsychosis,' which  sounds  resonant  and  classical,  even  if  it 

conveys  no  very  definite  meaning  The  drawings  of  Mr.  Worth  prove  that  we  have 

among  us  a  caricaturist  possessing  abilities  of  no  ordinary  character.  Mr.  Worth's  style 
is  original.  He  imitates  neither  Cruikshank,  Leech,  nor  Dore,  and,  indeed,  the  subject 
chosen  is  one  which  they  have  never  taken  up.  While  preserving  in  these  sketches  the 
old  Grecian  costumes,  architecture,  and  'properties,'  Mr.  Worth  gives  to  his  figures  the 
faces  and  forms  of  the  good  folks  of  the  present  century,  —  and  it  is  in  this  amusing  in- 
congruity that  one  of  the  great  charms  of  the  book  exists.  What  can  be  more  witty 
(wit,  says  Burnet,  is  an  assimilation  of  remote  ideas  oddly  or  humorously  collected)  in 
the  picture  line,  than  the  '  Guide  of  the  Elephant'  (No.  13),  a  figure  in  Roman  dress,  with 
the  head  of  an  Irishman,  a  shocking  bad  hat,  a  shillelah,  and  a  pipe  stuck  in  the  belt ; 
or  the  slouch y  street  boys  gazing  at  '  Theseus  taking  his  Evening  Walk  '  (No.  17),  who, 
though  in  classic  dress,  are  suggestive  of  Center  street  and  the  Five  Points  in  face  and 
form  ?  Excellent,  too,  is  the  '  Frightened  Senator '  (in  No.  14),  seated  before  the  Senate  in 
a  rocking-chair,  his  spectacles  pushed  up  on  his  forehead  and  an  old-fashioned  black 
stock  encircling  his  neck.  Perhaps  the  best  picture  in  the  book  is,  however,  that  of 
Pelopidas  in  prison,  —  the  very  picture  of  abject  seediness.  Alcibiades  (the  text  tells  us 
he  was  a  military  man  descended  from  the  Telemonian  Ajax,  one  of  whose  latest  descen- 
dants was  Andrew  Jackson,  —  a  modern  refinement  upon  Ajax  Son)  looks  like  Barili  the 
singer  ;  and,  indeed,  the  artist  seems  to  have  copied  not  a  few  of  his  characters  from 
the  style  of  the  Academy  of  Music. "  —  New  York  Evening  Post,  April  12,  1862. 

Wright,  Rufus.  (Am.)  Born  near  Cleveland,  0.,  in  1832.  He 
received  his  art  education  in  the  schools  of  the  National  Academy, 
New  York,  and  was  for  some  time  a  pupil  of  George  A.  Baker.  His 
professional  life  has  been  spent  in  New  York,  Washington,  D.  C.,  and 
Brooklyn.  In  1866  he  was  made  a  member  of  the  Brooklyn  Acad- 
emy of  Design,  and  was  for  five  or  six  years  a  teacher  in  its  schools. 
Among  the  more  important  of  his  portraits  are  those  of  Chief  Jus- 
tice Taney  and  Chief  Clerk  Carrol,  of  Secretary  Stanton,  Secretary 
Seward,  Father  McGinn,  Colonel  Isaac  H.  Bead,  late  President  of 
the  Produce  Exchange,  New  York,  etc.  He  turned  his  attention  to 
the  painting  of  composition  pictures  in  1875  or  '76,  exhibiting  at  the 
National  Academy  in  New  York  in  1876,  "  The  Morning  Bouquet  " 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  363 


and  "  The  Inventor  and  the  Banker  "  ;  in  1877,  "  Thank  you,  Sir !  "; 
in  1878,  "  Concerned  for  his  Sole." 

.  The  Inventor  and  the  Banker '  is  a  strong  composition,  and  one  which  not  only 
shows  thought,  but  also  high  artistic  genius."  —  Art  Journal,  May,  1876. 

Wright,  F.  E.  {Am.)  Born  in  South  Weymouth,  Mass.,  1849. 
Studied  in  Paris  for  some  time  under  L.  Bonnat,  Chapu,  Boulanger, 
and  Lefebvre.  His  professional  life  has  been  spent  in  Boston,  where 
his  portraits  are  popular  and  are  generally  owned. 
,  Wyant,  A.  H.,  N.  A.  {Am.)  Born  in  Ohio,  1839.  Early  mani- 
fested a  taste  for  art,  and  began  his  professional  career  as  a  landscape- 
painter  in  Cincinnati.  He  spent  some  years  in  Diisseldorf,  where  he 
studied  under  Hans  Gude  ;  subsequently  he  studied  in  London,  and  re- 
turned to  America,  settling  in  New  York  in  1864  or  '65.  His  first 
picture,  exhibited  in  New  York,  "  A  View  of  the  Valley  of  the  Ohio 
River,"  was  at  the  National  Academy  in  1865.  He  was  elected  an 
Associate  in  1868,  Academician  in  1869,  and  was  one  of  the  early 
members  of  the  American  Society  of  Painters  in  Water-Colors. 
Among  his  pictures  in  oil  are,  "  Staten  Island  from  the  Jersey  Mead- 
ows," in  1867  ;  "  Scene  on  the  Upper  Susquehanna,"  in  1869  ;  "  The 
Bird's-Nest"  and  "A  Changeful  Day,"  in  1870;  "Shore  of  Lake 
Champlain  "  and  "A  Pool  on  the  Ausable,"  in  1871  ;  "  Fort  at  New 
Bedford,"  in  1874  ;  "  A  View  on  Lake  George  "  and  "  A  Midsummer 
Ketreat,"  in  1875  ;  "  Macgillicuddy's  Reeks  "  and  "  The  Wilds  of  the 
Adirondacks,"  in  1876;  "An  Old  Clearing,"  in  1877;  "  An  Old  Road- 
Evening,"  and  "  Pool  in  the  North  Woods."  To  the  Water-Color  Ex- 
hibition he  contributed,  in  1867,  "  Scene  on  the  Upper  Little  Miami"  ; 
in  1869,  "  A  Reminiscence  of  West  Virginia  "  and  "  Trees  and  Stuff 
in  New  Jersey"  ;  in  1870,  "  New  Jersey  Meadows"  ;  in  1872,  "  Gath- 
ering Shells"  ;  in  1876,  "Late  Autumn,  Ausable  River"  ;  in  1877, 
"Scene  in  Massachusetts"  and  "An  Irish  Lake  Scene";  in  1878, 
"  Reminiscences  of  the  Connecticut,"  "  Mountains  in  Kerry,"  and 
others.  His  "  Sunset  on  the  Prairie,"  in  water-color  (belonging  to 
R.  M.  Schuyler),  was  in  the  Philadelphia  Exhibition  of  1876.  His 
"  Reminiscence  of  the  Connecticut,"  in  water-colors,  and  "  New  Eng- 
land Landscape,"  in  oil,  were  at  the  Paris  Exposition  of  1878. 

"  As  a  painter  of  the  wild  and  rugged  scenery  of  the  northern  wilderness  of  New  York, 
Wyant  has  but  few  equals  in  the  Academic  ranks."  —  Art  Journal,  December,  1876. 

Wyatt,  Sir  Matthew  Digby.  {Brit.)  Born  in  Wiltshire  (1820  - 
1877).  A  pupil  at  the  Royal  Academy,  and  subsequently  of  several 
Continental  Academies.  His  first  important  work  as  an  architect 
was  the  Crystal  Palace  in  London  in  1851,  and  in  1852  to  '54  he  was 
superintendent  of  the  decorations  and  Fine  Art  Department  of  the 
same  building  on  its  erection  in  Sydenham.  In  1856  he  received  the 
appointment  of  Surveyor  to  the  British  East  India  Company,  furnish- 
ing the  designs  for  many  fine  structures  in  India  and  in  Great  Britain. 
He  was  knighted  in  1869.    Among  the  more  important  works  pub- 


364     ARTISTS  OF  THE  NINETEENTH  CENTURY, 


lished  by  him  are,  "  The  Industrial  Arts  of  the  Nineteenth  Centurv  " 
(1851),  "Art  Treasures  of  the  United  Kingdom"  (1857),  "  Fine  Art" 
(1870),  "  An  Architect's  Note-Book  in  Spain  "  (1872).  In  1869  he  was 
appointed  Slade  Professor  of  Fine  Arts  at  the  Cambridge  University. 

Wyburd,  Francis  John.  (Brit.)  Born  in  London,  1826.  Educated 
at  Lille,  France.  On  his  return  to  England  he  was  placed  as  a  pupil 
with  the  late  Thomas  Fairland,  a  clever  lithographic  artist.  In  1845 
Wyburd  received  a  silver  medal  from  the  Society  of  Arts  for  a  drawing, 
and  in  1848  he  entered  the  schools  of  the  Royal  Academy,  exhibiting 
for  the  first  time  at  the  Royal  Academy  the  next  year.  In  1853  he 
sent  "  Beatrice,"  a  small  study  which  was  highly  praised.  Among 
his  other  works  may  be  mentioned,  "  Lalla  Rookh,"  "  The  Kiosk  " 
(painted  for  the  Glasgow  Art  Union),  "  Hinda,"  "  Amy  Robsart  and 
Janet  Forster,"  "  The  Convent  Shrine  "  (at  the  British  Institution  in 
1862),  "  Immortelles  "  (painted  for  the  Duchess  of  Cambridge,  exhib- 
ited at  the  Royal  Academy  in  1862,  and  subsequently  engraved).  In 
1863  he  sent  to  the  Royal  Academy,  "  Christmas  Time " ;  in  1864, 
"  The  Offering  "  and  "  The  Private  View  "  ;  in  1865,  "  The  Church 
Door"  ;  in  1867,  "  The  Last  Day  in  the  Old  Room"  ;  in  1868,  "  The 
Confessional";  in  1869,  "The  Birthday  Visit";  in  1872,  "The 
Harem"  ;  in  1874,  "  Nadira"  ;  in  1875,  "  Breakfast-Time"  ;  in  1876, 
"  Life  in  the  Old  Manor-House." 

"  The  characteristics  of  Wyburd's  art  are  principally  a  perfect  realization  of  female 
beauty,  an  attractive  manner  in  setting  out  his  figures,  and  a  refinement  of  finish  which  is 
sometimes  carried  almost  to  excess."  —  Art  Journal,  June,  1877. 

Wylie,  Robert.  (Am.)  Native  of  the  Isle  of  Man.  Taken  to 
America  by  his  parents  when  a  child.  Died  in  Brittany,  1877,  aged 
about  forty  years.  He  began  his  art  studies  in  the  Pennsylvania 
Academy  of  Fine  Arts.  Was  a  carver  of  ivory,  but  soon  turned  his 
attention  to  painting,  and  went  to  Europe  in  1865.  In  the  Paris  Sa- 
lon of  1869  he  exhibited  his  "  Reading  the  Letter  from  the  Bride- 
groom," and  received  a  medal  for  his  "  Breton  Fortune-Teller "  in 
the  Salon  of  1872.    His  works  were  little  known  in  America. 

"  Wylie  was  one  of  the  most  brilliant  members  of  the  American  Colony  of  Artists  in 
Paris.  Nearly  all  of  his  pictures  represent  peasant-women  and  rustic  scenes,  and  there 
is  a  truthfulness  shown  that  is  in  the  highest  degree  interesting."  —  Art  Journal,  April, 
1877. 

"The  characteristic  of  Wylie's  genius  was  his  strength.    The  slightest  sketch  from 

his  pencil  shows  a  vigorous  and  intelligent  grasp  of  the  subject  He  transferred 

to  canvas  the  life  that  was  around  him,  the  Breton  peasant,  the  fisherwoman,  the  sturdy 
toilers  of  the  sea  and  of  the  shore.  His  coloring  and  his  style  were  all  his  own."  — 
Lucy  Hooper,  Paris  Letter,  March,  1878. 

Wyllie,  W.  L.  (Brit.)  Born  in  London,  1851.  He  studied  art  in 
the  Royal  Academy,  London,  gaining  in  1869  the  Turner  gold  medal 
for  landscape-painting.  He  has  a  studio  in  London,  but  spends  much 
of  his  time  upon  the  sea,  making  marine  and  coast  views  a  specialty, 
and  introducing  frequently  the  figures  of  sailors  and  fishermen.  He 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  365 


is  a  member  of  the  Society  of  British  Artists,  exhibiting  there  and  at 
the  Royal  Academy.  Among  his  works  are,  "Northern  Lights," 
"  Tracking  in  Holland,"  "  The  Silent  Highway,"  "  Summer  Clouds," 
"  At  the  '  Good  Intent,'  "  "  A  Dutch  Canal,"  etc.  To  the  Paris  Ex- 
position of  1878  he  contributed  "  Sea- Birds." 

"  W.  L.  Wyllie  has  made  a  study  of  a  wreck  on  the  Goodwin  Sands  [R.  A. ,  1874]. 
About  a  large  ship  stranded  in  calm  weather  the  sea-birds  are  flying.  The  surface  of 
the  water  just  ripples  with  a  fresh  breeze,  and  across  a  stormy  sky  the  bright  tints  of  a 
rainbow  pass  and  lighten  the  scene.  Mr.  Wyllie  gives  always  a  very  genuine  impression 
of  reality  to  his  sea-pictures."  —  Art  Journal,  August,  1874. 

Wynfield,  David  W.  (Brit.)  Born,  1837.  Grand  nephew  of 
Sir  David  Wilkie.  Studied  for  the  Church,  but  finally  entered  the 
studio  of  T.  M.  Leigh  in  1856,  devoting  himself  generally  to  historical 
subjects  and  such  as  are  of  a  tragic  nature.  He  first  exhibited  in 
1859.  In  1863  he  sent  to  the  Royal  Academy,  "The  Meeting  of  Ed- 
ward IV.  and  Elizabeth  Woodville"  ;  in  1864,  "  The  Rival  Queens"; 
in  1865,  "  The  Last  Days  of  Elizabeth  " ;  in  1867,  "  The  Death  of 
Cromwell "  ;  and  in  1872,  "  Murdered  Buckingham."  Among  his 
works  of  a  less  somber  character  are,  "The  Rich  Widow"  and  "  My 
Lady's  Boudoir,"  in  1869  ;  and  "  Round  the  Fountain  "  and  "  Con- 
fidences," in  1871.  In  1872  he  exhibited  "The  Arrest  of  Anne 
Boleyn";  in  1873,  "  The  Ladye's  Knight "  ;  in  1874,  "Instructions 
in  Deportment "  and  "  The  Visit  from  the  Inquisitors  " ;  in  1875, 
"At  last,  Mother!"  and  "Queen  Elizabeth  and  Essex";  in  1876, 
"The  New  Curate"  and  "Market  Morning";  in  1877,  "Harvest 
Decorations,"  "  The  Discovery  of  Gold  in  Australia,"  and  "  David 
plajdng  before  Saul "  ;  in  1878,  "  Sunny  Hours  "  and  "  Joseph  mak- 
ing himself  known  to  his  Brethren."  His  "  New  Curate  "  and  "Death 
of  Buckingham  "  were  at  Paris  in  1878. 

"  The  technical  characteristics  of  Mr.  Wynfield  indicate  carefulness  and  completeness 
of  finish  carried  throughout  the  work,  but  with  due  subordination  determined  by  the 
relative  importance  of  objects  ;  great  attention  to  correctness  of  costume  and  conformity 
to  the  best  authority  in  faces  and  all  other  facts  ;  an  absence  of  all  bravado  or  display 
of  skill  in  the  manner  of  painting,  leading  sometimes  into  the  vice  of  over-labor  and 
heaviness  of  hand  resulting  in  opacity.  For  the  rest  his  work  is  solid  and  simple,  and 
seems  to  stand  well."  —  Tom  Taylor,  in  English  Artists  of  the  Present  Day. 

"  There  is  no  elaborateness  of  beautiful  detail,  no  trace  of  the  rich  symbolism  which 
characterizes  the  true.  Good  sound  workmanship  the  picture  ['The  Ladye's  Knight,' 
R.  A.,  1873]  does  contain,  however,  and  sufficient  mastery  of  expression  to  render  the 
scene  intelligible  and  interesting.  The  color,  as  is  usual  with  this  painter,  fails  of  brill- 
iancy, but  it  is  consistent  throughout  with  a  quiet  and  sober  effect."  —  Art  Journal, 
August,  1873. 

Xylander,  W.  (Ger.)  Of  Schleissheim.  Medal  at  Philadelphia, 
where  he  exhibited  "  The  Mouth  of  the  Thames,"  which  was  especially 
commended. 

Yarz,  Edmond.  (Fr.)  Born  at  Toulouse.  At  the  Paris  Salon 
of  1878  he  exhibited  "  Vignes,  aux  environs  de  Toulouse"  and  "La 
berge  du  guichet  du  Louvre";  in  1876,  "Under  the  Apple-Trees" 
(belonging  to  M.  Aignette)  and  "  A  Cross-Road." 


366     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Yeames,  William  Frederick,  R.  A.  (Brit.)  Born  in  Southern 
Russia  in  1835.  He  was  educated  in  Dresden  from  1843  to  '48,  when 
he  went  with  his  family  to  London.  In  1849  he  began  the  study  of 
drawing,  attending  the  anatomical  classes  of  the  University  of  Lon- 
don, and  went  to  Florence  in  1852,  studying  art  and  painting  there  for 
two  years  ;  he  then  spent  some  time  in  Rome,  and  settled  finally  in 
London  in  1858.  He  first  exhibited  in  the  Royal  Academy,  in  1859, 
"  The  Stanch  Friend."  In  1860  he  sent  the  "  Trystinge  House  "  to 
the  British  Institution.  In  1861  he  had,  at  the  Royal  Academy, 
"Sonnetto"  and  "The  Toilette";  in  1862,  "  Rescued "  ;  in  1863, 
"The  Meeting  of  Sir  Thomas  More  and  his  Daughter"  ;  in  1864, 
"Arming  the  Young  Knight"  and  "La  reine  malheureuse."  In 
1867,  when  he  was  elected  an  Associate  of  the  Royal  Academy,  he 
exhibited  "  The  Dawn  of  the  Reformation  "  and  "  Bread  and  Water"  ; 
in  1868,  "  The  Chimney-Corner"  ;  in  1869,  "The  Fugitive  Jacobite"; 
in  1870,  "  Maundy  Thursday  "  and  "  Love's  Young  Dream  "  ;  in  1871, 
"  Dr.  Harvey  and  the  Children  of  Charles  I."  ;  in  1872,  "  Old  Parish- 
ioner "  and  "  A  Rest  by  the  River-Side  "  ;  in  1873,  "  The  Path  of 
Roses  "  and  "  Pleading  the  Old  Cause  "  ;  in  1874,  "  Flowers  for  Hall 
and  Bower";  in  1875,  "The  Suitor";  in  1876,  "The  Last  Bit 
of  Scandal"  ;  in  1877,  "Waking,"  "Amy  Robsart,"  and  "The  Fair 
Royalist "  (a  pastel  study) ;  in  1878,  when  he  was  elected  Academi- 
cian, "  When  did  you  last  see  your  Father  1  "  To  Paris,  in  1878,  he 
sent  several  works. 

"  In  this  carefully  studied  work  ['  The  Meeting  of  Sir  Thomas  More  and  his  Daugh- 
ter,' R.  A.,  1863]  the  attendant  figures,  sympathizing  with  or  officially  indifferent  to  the 
pathos  of  the  situation,  are  more  satisfactory  than  the  daughter.  More  himself,  how- 
ever, is  well  imagined,  although  the  expression  of  his  features  might  have  been  strength- 
ened."—  Palgrave's  Essays  on  Art,  1863. 

"  Yeames  is  a  conscientious  and  earnest  artist ;  his  gravity  of  conception  and  so- 
briety of  style  he  owes  mainly  no  doubt  to  his  character  and  temperament,  but  it  has 
been  strengthened  by  his  art  education,  the  best  part  of  which  was  carried  on  in  Flor- 
ence."—  Tom  Taylor,  in  English  Artists  of  the  Present  Day,  1877. 

"  Considering  how  much  of  Yeames'  art  education  was  received  in  continental  schools, 
one  is  surprised  to  see  so  little  of  foreign  influence  in  his  pictures.  His  subjects  are 
essentially  English,  and  his  mode  of  treating  them  is  generally  analogous  to  that  prac- 
ticed in  our  own  school.  He  is  an  earnest,  intelligent,  vigorous,  yet  painstaking  artist, 
whose  works  merit  the  favor  they  receive  from  our  best  collectors." — Art  Journal, 
April,  1874. 

Yelland,  R.  D.  (Am.)  Born  in  London  in  1848.  He  has  lived 
in  America  since  1851,  spending  his  professional  life  in  New  York  and 
San  Francisco,  where  his  studio  now  is.  He  studied  in  the  schools  of 
the  National  Academy,  and  under  William  Page,  L.  E.  Wilmarth, 
and  J.  R.  Brevoort.  He  was  elected  an  Associate  of  the  San  Francisco 
Art  Association  in  1874,  and  Assistant  Director  of  the  California 
School  of  Design  in  1877.  He  devotes  himself  to  landscapes  and 
coast  scenery  ;  among  his  more  important  works  being  "  Seal  Rocks, 
Golden  Gate,  California  "  and  "  Half- Moon  Beach,  Gloucester  Harbor, 
Mass.,"  both  owned  in  San  Francisco. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  367 


Yewell,  George  H.,  N.  A.  (Am.)  American  painter,  living  for 
some  years  in  Rome.  He  studied  in  New  York  under  Thomas 
Hicks,  and  in  Paris  under  Couture.  He  is  an  Associate  of  theNational 
Academy  of  Design.  His  works  rarely  come  to  America.  He  sent, 
however,  to  the  National  Academy,  "Venice,"  in  1871  ;  "A  Country 
Girl,"  in  1872  ;  and  "  The  Interior  of  St.  Mark's,  Venice  "  and  "  The 
Interior  of  the  Ducal  Palace,  —  Senate  Chamber,"  in  1877.  His 
"  Carpet  Bazaar,  Cairo  "  and  "  Mosque  of  Kait-Bey,  Cairo  "  were  at 
the  Paris  Exposition  of  1878.    [N.  A.,  1880.] 

"Yewell  paints  landscapes  and  interiors ;  the  latter  with  great  fidelity  and  accuracy." 
—  Mrs.  Tytler's  Modern  Painters. 

"  In  YewelPs  '  First  Communion  '  the  architectural  details  of  the  church  and  the  sur- 
rounding houses  are  painted  with  elaborate  care."  —  Tuckerman's  Book  of  the  Artists. 

"  '  The  Senate  Chamber  in  the  Ducal  Palace,  Venice '  is  a  large  and  brilliant  example 
of  YewelPs  work.  The  architectural  drawing  is  admirable,  and  every  detail  of  pictorial 
ornamentation,  for  which  the  palace  is  so  famous,  is  painted  with  conscientiousness  and 
force."  —  Art  Journal,  June,  1875. 

Yon,  Edmond-Charles.  (Fr.)  Born  at  Paris.  Medals  (for  paint- 
ing) in  1875,  (for  engraving  on  wood)  '74  and  '72.  He  exhibited  at 
the  Salon  of  1878  (in  oils),  "  A  Little  Branch  of  the  Marne,  at  Isle- 
les-Villenoy  "  and  "  Avant  la  pluie  "  ;  in  1877,  "  Le  Morin,  a  Villiers" 
and  "  Le  Bas-de-Villiers  "  ;  in  1876,  "  A  Summer  Day  "  and  "  The 
Seine,  near  Gravon";  in  1875,  "A  Branch  of  the  Seine"  and  "Le 
Petit-Flot,"  two  views  near  Montereau.  Among  his  engravings  are, 
"  La  carte  a  payer,"  after  Leroux  ;  "  The  Fountain  of  Poul-Goin,"  after 
Anastasi  ;  "  La  gardeuse  d'oies,"  after  F.  Millet ;  and  a  very  large 
number  after  his  own  pictures  and  designs. 

Young,  James  Harvey.  (4^.)  Born  in  Salem,  Mass.,  1830.  He 
studied  under  John  Pope,  a  portrait-painter  of  Boston,  and  at  the  age 
of  fourteen  opened  a  studio  of  his  own  in  that  city,  painting  portraits 
at  five  dollars  each.  After  an  experience  of  a  few  years  in  mercantile 
pursuits,  he  became  a  professional  artist  in  Boston  in  1858,  where  he 
has  since  lived.  He  devotes  himself  to  portrait-painting,  but  seldom 
exhibits  in  public.  He  was  for  some  years  a  member  of  the  Boston 
Art  Club,  and  from  1861  to  '71  was  Director  of  the  Fine  Art  Ex- 
hibitions at  the  Boston  Museum.  Among  his  better  known  works 
are  portraits  of  Edward  Everett  (belonging  to  Mrs.  E.  B.  Everett), 
William  Warren,  W.  H.  Prescott  and  Horace  Mann  (in  the  Salem 
Normal  School),  Ellsworth  and  Brownell  (belonging  to  the  Salem 
Independent  Cadets),  General  Townsend  (Soldiers'  Home,  near  Wash- 
ington), Thatcher  Magoun  (for  the  town  of  Medford),  Barn  as  Sears, 
Professor  Whitney  (in  the  Newton  Theological  Seminary),  several 
of  the  Secretaries  of  State  of  the  United  States  (now  in  the  State 
Department,  Washington),  and  of  many  private  individuals.  Mrs. 
George  Livermore  of  Cambridge  owns  a  half-length  cabinet-sized 
portrait  of  Everett,  and  a  head  of  the  same  statesman  is  in  the  Boston 
Public  Library. 


368     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Young,  Harvey.  (Am.)  A  native  of  Vermont.  He  studied  in 
Paris  under  Carolus  Duran,  sending  to  the  Salon  of  1878  "  Spring  " 
and  "The  Environs  of  Grez."  His  specialty  is  landscapes,  and  he 
has  painted  many  scenes  in  California,  where  part  of  his  professional 
life  has  been  spent. 

Yvon,  Adolphe.  (Ft.)  Born  at  Eschwiller,  1817.  Officer  of  the 
Legion  of  Honor.  Pupil  of  Paul  Delaroche.  This  painter  made  his 
debut  at  the  Salon  of  1842,  when  he  exhibited  his  portrait  of  Mme. 
Ancelot.  The  next  year  he  went  to  Russia,  and  from  there  sent  sev- 
eral pictures  to  the  Salons.  He  received  his  first  medal  in  1848,  and 
gradually  ascended  the  scale  of  honors  until,  in  1867,  he  was  made  an 
Officer  of  the  Legion  of  Honor.  He  was  the  only  artist  sent  officially 
to  the  Crimea,  and  his  picture  of  the  "  Taking  of  the  Tower  of  Mala- 
koff"  (seen  at  the  Exposition  of  1867)  holds  an  honorable  place 
among  the  representations  of  modern  battles  in  the  Gallery  at  Ver- 
sailles. His  principal  works  are,  "  Portrait  of  General  Neumayer " 
(1844)  ;  "The  Remorse  of  Judas"  (1846)  ;  "Battle  of  Koulikowo  " 
(1850);  "A  Fallen  Angel"  (1852);  "  The  First  Consul  descending  the 
Alps  "  (1853),  at  the  palace  of  Compiegne;  "  Marshal  Ney  supporting 
the  Rear-Guard  in  Russia  "  and  "  The  Seven  Capital  Sins,"  illustra- 
tions of  Dante  (1855);  "Battle  of  Solferino  "  and  a  "Portrait  of  the 
Prince  Imperial "  (1861)  ;  «  The  United  States  of  America  "  (1870), 
an  allegorical  picture,  purchased  by  the  late  Mr.  Stewart  of  New 
York  ;  "  A  Street  in  Constantinople  "  and  "  Secrets  of  State  "  (1873)  ; 
"  Portrait  of  the  Countess  of  Caen"  (1875)  ;  and  several  portraits  in 
1876  and  '77. 

"  His  [Yvon's]  pictures  are  full  of  movement,  and  the  painting  is  sober  and  straight- 
forward, quite  free  from  every  kind  of  affectation  ;  it  has,  however,  very  little  interest 
derived  from  intellect  or  feeling."  —  Hamerton's  Contemporary  French  Painters. 

"  Another  series  of  cartoons,  in  a  grand  style  of  model  drawing,  and  daring  in  the 
vigor  of  their  design,  is  Rage,  Lust,  Avarice,  Gluttony,  Envy,  Idleness,  and  Pride,  after 
Dante,  by  M.  Yvon.  The  same  artist's  enormous  oil-picture  of  '  Marshal  Ney  heading 
the  Rear-Guard  of  the  Grand  Army  in  the  Retreat  from  Russia'  is  one  of  those  night- 
mare displays  of  physical  energy  and  horror  which  the  French  painters  affect,  and  in 
which  the  Englishman  scarcely  knows  whether  most  to  wonder  at  the  display  of  force 
or  reprobate  the  unalloyed  and  valueless  monstrosity."  —  William  Michael  Rossetti, 
Fine  Art,  chiefly  Contemporary,  1867. 

Zacharie,  Philippe-Ernest.  (Ft.)  Born  at  Radepont.  Pupil  of 
M.  G.  Morin.  At  the  Salon  of  1878  he  exhibited  "  The  Good  Samar- 
itan" ;  in  1877,  "The  Punishment  of  Caiaphas  "  and  "The  Young 
Amateur"  ;  in  1876,  "The  Evening  of  the  Epiphany  "  and  "Field- 
Flowers  "  ;  and  in  1875,  "  Un  vieux  bouquiniste." 

Zamacois,  Edouard.  (Span.)  Born  at  Bilboa  (about  1840- 
1871).  Medal  at  Paris,  1867.  Pupil  of  Meissonier.  Made  his  debut 
at  the  Salon  of  1863,  with  the  "  Enlisting  of  Cervantes  "  and  "  Dide- 
rot and  D'Alembert."  In  1864  he  exhibited  "  Conscripts  in  Spain  "  ; 
in  1866,  "  The  Entrance  of  the  Toreros  "  (painted  in  part  by  Vibert) 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  369 


and  "The  First  Sword";  in  1867, "  A  Buffoon  of  the  Sixteenth 
Century,"  "  Indirect  Contribution  "  (purchased  by  Mr.  Matthews), 
and  a  water-color  of  "  A  Jester  of  the  Sixteenth  Century  "  ;  in  1868, 
"  The  Favorite  of  the  King  "  (purchased  by  Mr.  Stewart)  and  the  "  Re- 
fectory of  the  Trinitaires  at  Rome  "  ;  in  1869,  "  The  Entrance  to  the 
Convent "  (being  a  monk  urging  on  an  obstinate  ass,  loaded  with  pro- 
visions) and  "  A  Good  Pastor  "  (a  priest  in  the  confessional  giving  in- 
dulgences to  the  pretty  girls  kneeling  about  him,  to  the  disgust  of  an 
ugly  one  near  by)  ;  in  1870,  "  Platonic  Love  "  (a  negro  making  a 
declaration  to  the  marble  bust  of  a  woman)  and  "  The  Education  of 
a  Prince  "  (which  represents  a  Spanish  prince  of  three  years  seated  on 
a  rug,  playing  with  toy  soldiers,  while  the  king,  cardinal,  bishop,  and 
priests,  with  the  courtiers,  look  on  admiringly).  A  "  Figure  "  by  this 
painter  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston.  At  the 
Johnston  sale,  New  York,  1876,  "  The  Puzzled  Musician  "  (6  by  5) 
sold  for  $  900,  "  The  Two  Confessors  "  (18  by  25)  for  $  6,500,  and  a 
water-color,  "  Waiting  at  the  Church  Porch  "  (14  by  10),  for  $  900. 
Mr.  Walters  of  Baltimore  has  a  good  picture  by  Zamacois,  which  he 
purchased  from  the  widow  of  the  artist.  Mr.  H.  P.  Kidder  of  Boston 
owns  his  "  Faust  and  Marguerite." 

"  This  picture  [« The  Education  of  a  Prince  ']  of  Zamacois  is  a  painted  recitation,  a 
page  of  memory  taking  on  bustle  and  life.  His  keen,  expressive  brush  is  brilliant  with- 
out false  glitter  ;  a  mocker  without  grimace,  it  traces  characters  as  would  the  pen  of 
the  most  skillful  chronicler.  The  spirit  of  touch,  sharpened  by  the  spirit  of  observation, 
could  not  speak  better,  or  better  represent  itself. "  —  Paul  de  Saint-Victor,  in  Diction- 
naire  Universel  (Larousse). 

"  Of  the  recent  men  in  French  art  who  have  distinguished  themselves  by  novelty  of 
subject  and  elaboration  of  manner,  Zamacois  is  not  the  least  noteworthy  ;  he,  in  fact, 
holds  the  attention  best,  and,  with  Vibert,  excites  the  most  lively  interest  among  ama- 
teurs of  painting.  Vibert  and  Zamacois  are  to  the  Parisian  picture-fanciers,  to-day, 
what  Meissonier  and  Ger6me  were  yesterday, — the  novelty  and  the  perfection  of  art. 
If  one  can  reproach  Meissonier  with  a  want  of  wit,  if  one  can  assert  unrebuked  that  his 
carefully  wrought  casket  is  empty,  or  at  best  holds  trivial  stuff,  such  is  not  the  reproach 
one  can  make  to  Zamacois.  Zamacois,  with  a  manner  almost  as  perfect  as  Meissonier' s, 
is  a  satirist ;  he  is  a  man  of  wit,  whose  means  of  expression  is  comparable  to  a  jeweled 
and  dazzling  weapon,  —  so  much  so  that,  to  express  his  rich  and  intense  color,  his  pol- 
ished style,  he  has  been  said  to  embroider  his  coarse  canvas  with  pearls,  diamonds,  and 
emeralds.  I  should  suggest  the  form  and  substance  of  his  works  as  a  painter,  by  say- 
ing that  he  has  done  what  Browning  did  as  a  poet  when  he  wrote  the  '  Soliloquy  of 
the  Spanish  Cloister ' ;  what  Victor  Hugo  has  done  in  portraying  dwarfs  and  hunch- 
backs ;  but  with  this  difference,  that  what  is  en  grand  and  awful  in  Hugo  is  small, 
elaborated,  and  amusing  in  Zamacois.  Zamacois  seeks  his  subjects  in  the  sixteenth 
and  seventeenth  centuries,  and  in  the  life  of  monks  and  friars  and  priests  in  modern 
Italy.  It  is  manifest  that  Zamacois  admires  Moliere,  that  he  appreciates  the  pictu- 
resque side  of  Victor  Hugo's  genius.  He  may  be  said  to  enamel  the  hardy  creations  of 
the  poet  of  the  incongruous,  and  to  reduce  them  in  a  style  so  delicate  and  precious  that 
one's  admiration  and  curiosity  are  in  amiable  conflict  over  the  novelty  of  the  subject 
and  the  perfection  of  the  representation.  For  it  was  novel  to  see  a  group  of  hunch- 
backs and  dwarfs  in  the  antechamber  of  a  king,  all  clad  in  sheeny  ve'sture,  intense  of 
hue  like  the  plumage  of  tropical  birds,  in  clear  and  glowing  colors  like  carbuncles  and 
emeralds  and  rubies,  and  rendered  in  a  manner  fine  and  elaborate  enough  to  represent 
16*  x 


370     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  whiteTskin,  and  pretty  round  arms,  and  perfect  hands  of  the  Marquise  de  Pompa- 
dour ;  it  was  a  novelty  to  see  a  group  of  deformed  beings,  painted  with  as  much  care 
and  clothed  with  as  much  splendor  as  a  group  of  fair  women.  The  pictures  of  Zama- 
cois had  the  attraction  of  the  bizarre  and  the  perfect.  The  picturesque,  the  grotesque, 
the  elaborate,  all  in  one  frame  ;  this  was  more  than  the  severe  Gerome  gave  in  his  stud- 
ied sensualities,  more  than  the  dry  and  prosaic  Meissonier  gave  in  his  studies  of  cos- 
tume and  character  Zamacois  may  be  said  to  understand  art  not  as  a  grand  and 

noble  means  of  expression,  but  as  a  fine  and  perfect  and  precious  expression.  He  does 
with  form  and  color  what  Tennyson  does  with  words,  —  that  is  to  say,  he  combines 
them  in  a  studied  and  jeweled  style,  to  express  his  pleasure  in  intense  and  brilliant 
things.  But  the  French  painter  has  wit,  and  no  one  would  accuse  Tennyson  of  that 
Gallic  trait.  Therefore,  to  make  you  acquainted  with  Zamacois,  I  must  say  he  has  a 
suspicion  of  malice  that  must  be  delightful  to  the  compatriots  of  Voltaire,  that  he  is 
bold  and  positive  in  his  conceptions,  and  fine  and  elaborate  in  his  expressions.  But  he 
is  a  painter  of  character  rather  than  a  creator  of  the  beautiful ;  he  is  a  comic  artist  and 
not  an  idealist ;  he  puts  a  farce  before  your  eyes  in  a  setting  of  jewels.  Zamacois  is 
kindred  to  Moliere.  If  you  could  suppose  something  of  Moliere's  genius  embodied  in  a 
series  of  sonnets,  you  would  have  a  just  literary  expression  of  Zamacois  as  a  painter. 
One  is  surprised  to  find  so  much  of  the  comic  in  a  style  so  finished  and  brilliant,  and  it 
is  this  which  is  the  distinction  of  Zamacois  ;  it  is  this  which  separates  him  from  a 
erowd  of  skillful  and  talented  French  painters  of  genre.  The  purity  and  intensity  of  his 
color,  of  which  I  have  spoken,  are  so  remarkable  that  they  suffice  to  distinguish  him 

from  all  his  contemporaries,  and  even  make  him  the  superior  of  Vibert  Such 

art  as  Zamacois'  comes  very  close  to  a  cultivated  man  without  placing  in  his  mind 
one  suggestion  of  the  noble  or  the  beautiful.  In  this  respect  it  is  contemporary,  and 
far  from  Greek  sculpture  and  Italian  painting.  Instead  of  the  ideal,  it  gives  the  exqui- 
site ;  instead  of  the  noble  the  comical.  It  is  the  difference  between  a  comedy  of  Moliere 
and  a  tragedy  of  Euripides.  We  enjoy  the  comedy;  it  gratifies  our  curiosity,  —  the 
most  universal  passion  ;  but  we  are  impressed  by  the  tragedy  ;  it  holds  our  imagination 
brooding  over  the  despotic  and  fatal  evolution  of  human  passion.  I  prefer  the  pagan 
idea  of  art  to  the  latest  contemporary  French  idea  of  art,  as  illustrated  by  Zamacois, 
because  I  prefer  Medea  to  Tartuffe.  It  may  be  said  of  Zamacois,  that  he  has  been  more 
successful  in  treating  seventeenth-century  subjects  than  the  more  widely  celebrated 
Gerome,  who  has  repeatedly  sought  to  pluck  artistic  honors  from  the  contemporaries  of 
Moliere."  —  Eugene  Benson,  Art  Journal,  1869. 

Zetterstrdm,  Mme.  M.  (Swede.)  Born  at  Gene.  Pupil  of  the 
Academie  des  Beaux- Arts  of  Stockholm.  At  the  Salon  of  1878  she 
exhibited  "  A  Prelude  "  and  "A  Swedish  Peasant- Woman  "  ;  in  1877, 
"A  Swedish  Song";  in  1876,  "  Une  visite  en  passant,  —  interieur 
laponais  "  ;  and  in  1875,  "A  Lapland  Interior." 

Zezzos,  Alessandro.  (Ital.)  Pupil  of  the  Academy  of  Venice. 
This  artist  sent  to  the  Paris  Exposition,  1878,  a  The  Pigeons  of  Saint 
Mark,"  and  to  the  Paris  Salon,  same  year,  "  El-Mazrama  (mouchoir 
du  Sultan)  "  ;  and  in  1877,  "  Les  saltimbanques  "  and  "  A  Venetian, 
—  a  Daughter  of  the  People." 

Ziem,  Felix.  (Fr.)  Born  at  Beaume,  about  1822.  Chevalier  of 
the  Legion  of  Honor.  Studied  in  Paris.  Traveled  in  the  East,  and 
made  his  debut  at  the  Salon  of  1849.  His  "  View  of  Venice  "  (1852) 
is  in  the  Luxembourg  ;  "  Evening  at  Venice  "  (1854)  was  purchased 
by  the  Duke  de  Morny  ;  "  View  of  Antwerp  "  (1855)  was  purchased 
by  the  government.  In  1868  he  exhibited  "  Venice,  —  a  Party  of 
Pleasure  "  and  «  Marseilles,  —  View  at  the  Old  Port "  ;  in  1867,  "  The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  371 


Bncentaur  adorned  for  the  Ceremony  of  the  Marriage  of  the  Doge 
with  the  Adriatic,  Venice,  1426,"  and  "  Carmagnola,  accused  of  High 
Treason  by  the  Venetians  and  beheaded  under  the  Lion  of  St.  Mark, 
Venice,  1422"  ;  in  1866,  "Venice, — a  September  Evening  after  a 
Kain"  and  "Constantinople, — Setting  Sun."  Ziem  repeats  his  subjects 
over  and  over  again.  He  has  made  some  sketches,  water-colors,  fruit- 
pieces,  etc.  At  the  Johnston  sale,  "  Venice  at  Sunset,  —  Entrance  to 
the  Grand  Canal,"  from  the  Wolfe  sale  (27  by  42),  sold  for  $  1,510. 
At  the  Norzy  sale,  Paris,  1860,  "  View  of  the  Grand  Canal "  sold  for 
3,880  francs.  At  the  Laurent-Richard  sale,  Paris,  1873,  "  Stamboul  " 
and  "Venice"  sold  for  .£480  each.  At  the  Corcoran  Gallery  is 
"  Constantinople  from  the  Golden  Horn,"  1874. 

"  Ziem  is  obliged  to  conceal  the  insufficiency  of  his  design  in  an  agreeable  vapor.  He 
has  grace  without  firmness  ;  his  earth  and  his  monuments  undulate  in  the  wave  ;  he  has 
never  known  how  to  fix  a  silhouette.  His  pictures  are  like  some  of  the  works  of  Isabey 
the  chatoyant,  a  little  strengthened  and  refined  by  the  example  of  Canaletto.  It  is  not 
that  Ziem  is  a  mediocre  artist.  He  excels  in  mirroring  the  most  brilliant  colors  in  a 
canal. 

•  Le  moindre  vent  qui  d'aventure 
Fait  rider  la  face  de  l'eau  ' 

('The  least  wind  which  perchance  ruffles  the  face  of  the  water ')  furnishes  a  delicious 
matter  for  his  brush.  His  marines  give  us  that  delectable  little  shivering  with  which  we 
are  seized  when  we  step  on  a  boat.  But  Ziem  would  give  us  more  durable  and  deeper 
pleasures  if  he  would  design  only  like  Joyant."  —  Edmond  About,  Nos  Artistes  au  Salon 
de  1857. 

"  Among  the  artist  travelers  who  have  known  how  to  conquer  public  favor,  Ziem  occu- 
pies a  place  apart.  He  sees  with  indifference  the  rocks,  the  plains,  or  the  forests,  and  is 
arrested  by  choice  in  the  great  maritime  cities  which  mirror  in  the  water  their  edifices 
gilded  by  the  sun  of  the  South.  He  is  a  painter  of  architecture  as  well  as  a  painter  of 
marines,  who  willingly  takes  a  siesta  at  noonday,  and  wishes  to  see  nature  only  as  twi- 
light approaches.  The  two  pictures  in  the  Laurent-Richard  Collection  are  among  his 
most  important  works,  and  are  sufficient  to  justify  the  rank  which  he  holds  in  art. 

"  Here  is  Constantinople  unrolling  itself  in  an  amphitheater,  while  the  sun  appears 
like  a  brilliant  disc  which  is  reflected  in  the  waters  of  the  Bosphorus,  and  bathes  in  a 
luminous  vapor  the  domes  and  minarets  of  the  great  city-  On  one  side  we  see  the  point 
of  the  Seraglio,  the  ancient  kiosque  of  the  Janissaries,  the  mosque  of  Bajazet,  and  the 
great  walls  which  inclose  the  Golden  Horn.  On  the  other  hand,  we  catch  a  glimpse  of 
the  coast  of  Asia  and  the  first  buildings  in  Scutari.  A  white  sail,  and  some  long-boats 
manned  with  rowers,  lose  themselves  on  a  ruddy  beach  in  the  first  plane. 

"  Lost  in  the  midst  of  the  lagunes  of  the  Adriatic,  Venice,  the  city  of  enchantments, 
so  dear  to  poets  and  travelers,  has  such  a  fascination  for  Ziem,  that  in  contemporaneous 
art  it  has  become  a  sort  of  monopoly  for  his  talent,  so  much  so  that  one  experiences  an 
involuntary  astonishment  upon  seeing  a  view  of  Venice  not  signed  with  his  name.  But 
his  interpretation  of  Venice  is  so  personal  that  one  could  not  deceive  himself  long  con- 
cerning it.  In  the  Collection  Laurent-Richard,  Venice  appears  to  us  in  an  autumn  even- 
ing. It  has  rained  all  day  ;  but  the  sky,  now  cleared,  is  only  traversed  by  some  light 
clouds  of  an  orange  tint,  which  the  movement  of  the  waves  reflects,  mingling  it  with  the 
purple  shades  of  the  setting  sun.  The  grand  Campanile  of  St.  Mark  raises  itself  in  the 
distance  above  the  horizon,  and  the  edifices  of  the  quay  mark  their  silhouettes  in  a  golden 
light,  while  gondolas  thread  their  way  over  the  grand  canal,  and  some  fishers'  barks 
are  placed  in  order  to  throw  the  nets."  —  Ren^  Menard,  Gazette  des  Beaux- Arts,  April, 
1873. 


372     ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Zier,  Edouard.  (Fr.)  Born  at  Paris.  Pupil  of  his  father  and 
of  Gerome.  Medal  at  Philadelphia,  where  he  exhibited  "  Julia."  At 
Paris,  in  1877,  were  "  The  Departure  of  Judith  "  and  "  Acis  and 
Galatea." 

Zimmermann,  Albrecht.  (Ger.)  Professor  of  landscape-painting 
at  Vienna.  A  picture  of  a  "  Waterfall  "  is  in  the  Munich  Pinako- 
thek  ;  also,  "  A  Fine,  Rocky  Landscape,  with  Centaurs  Wrestling." 
Among  his  works  are,  "  The  Mountain  Precipice  "  and  several  fine 
pictures  from  the  vicinity  of  the  Obersee.  His  pictures  illustrative  of 
Faust  and  his  Biblical  subjects  are  fine,  and  he  succeeds  in  giving  the 
warm  tone  to  Southern  scenes  and  the  cold  feeling  to  Northern 
climes  with  equal  truth  and  happiness  of  effect. 

Zocchi,  Emilio.  (Ital.)  Of  Florence.  Professor  of  the  Academy 
of  Fine  Arts.  At  Philadelphia  he  exhibited  "  Michael  Angelo  sculp- 
turing the  Head  of  a  Faun,"  "  Benjamin  Franklin  in  his  Youth," 
"  Columbus  in  his  Youth,"  "  Bacchus,"  and  "  The  Youth  of  Michael 
Angelo,"  and  received  a  medal. 

Zuber,  Jean-Henri.  {Alsatian.)  Born  at  Rixheim.  Pupil  of 
Gleyre.  Medal  of  the  second  class  in  1878,  when  he  exhibited 
"  Dante  and  Virgil "  and  an  "  Autumn  Evening,  —  Ille-et-Vilaine  "  ; 
in  1877  he  exhibited  "  A  Flock  of  Geese  at  Seppois-le-Haut "  and 
"  The  Banks  of  the  111  at  Fislis,  Upper  Alsace  "  ;  in  1876,  "  Even- 
ing on  the  Heath,  near  Dinard,"  and  "  Les  chercheurs  de  marne, 
maree  basse  dans  l'anse  de  Dinard." 

Zuber-Buhler,  Fritz.  (Swiss.)  Born  at  Locle.  Pupil  of  Picot 
and  Gros-Claude.  At  Philadelphia  he  exhibited  "  The  Dew,"  and 
received  a  medal.  At  the  Salon  of  1877  he  exhibited  "  The  Birth  of 
Venus." 

Zuccoli,  Luigi.  (Ital.)  Born  at  Milan.  Died,  1876.  Member 
of  the  Academy  of  Milan.  A  painter  of  scenes  from  popular  life  in 
Italy.  He  composed  with  taste,  drew  well,  and  showed  a  fine,  deli- 
cate fancy.  His  works  were  admired  in  Italian,  French,  and  Belgian 
Salons.  In  1870  he  exhibited  at  the  Paris  Salon,  "  A  Wedding  Pres- 
ent" ;  in  1869,  "  Breakfast  of  the  Poor  "  and  "  A  Wedding  Banquet, 
—  Roman  Campagna";  in  1867,  "A  Card- Party  at  an  Inn."  At  the 
London  Academy  in  1871  he  exhibited  "  Peasantry  relating  a  Dread- 
ful Scene  of  the  Neapolitan  Brigands." 

Ziigel,  Heinrich  Johann.  (Ger.)  Born  at  Murrhardt,  1850. 
Studied  at  the  Art  School  at  Stuttgart,  and  in  1873  was  for  some 
months  in  Vienna.  He  resides  in  Munich.  At  the  Berlin  National 
Gallery  is  his  "  Sheep  in  an  Alder  Grove." 

Zuliani,  Giov.  (Ital.)  Born  at  Verona.  To  the  Paris  Exposi- 
tion of  1878  he  sent  "  A  Marriage  of  State,"  and  to  the  Paris  Salon 
of  1876,  "  The  Rehearsal,"  a  scene  in  the  palace  of  Cardinal  Richelieu. 

Zumbusch,  Caspar-  (Ger.)  Of  Vienna.  At  Philadelphia  he 
exhibited  "  A  Marble  Bust  of  the  Emperor  of  Austria,"  and  received 
a  medal. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  373 


Zwirner,  Ernest  Frederic.  (Silesian.)  Bom  at  Jacobswald 
(1802-  1861).  President  of  the  Council  of  Architecture  for  the 
Province  of  Cologne,  and  Councilor  of  the  Prussian  Government.  In 
1824  he  went  to  the  Academy  of  Berlin  to  study  architecture  ;  he 
was  there  remarked  by  Schinkel,  who  attached  him  to  himself  and  his 
interests  for  several  years.  In  1853  Zwirner  was  named  architect  of 
the  Cathedral  of  Cologne,  and  entered  into  his  work  with  such  a 
spirit  that  he  inspired  King  William  IV.  and  the  people  at  large  with 
a  desire  that  this  magnificent  edifice  should  be  completed,  for  which 
he  merits,  and  will  receive,  the  gratitude  of  this  and  future  genera- 
tions. 


INDEX  TO  AUTHORITIES  QUOTED. 


About,  E.,  Vol.  I.  41,  91,  120,  130,  164,  178,  185,  201,  257,  268,  291,  342, 

351  ;  Vol.  II.  7,  91,  120,  160,  195,  226,  227,  327,  353,  357,  371. 
Albion,  The,  Vol.  II.  71. 
Aldine,  The,  Vol.  I.  142  ;  Vol.  II.  103,  129. 
Alger's  Life  of  Forrest,  Vol.  I.  31. 
American  Journal,  Vol.  I.  12. 

American  Register  (Paris),  Vol.  I.  94,  289  ;  Vol.  II.  90,  174. 

Appleton,  Nathan,  Vol.  I.  262. 

Appletons'  Journal,  Vol.  I.  56  ;  Vol.  II.  52,  109. 

Art  Journal,  Vol.  I.  18,  22,  23,  25,  30,  42,  43,  45,  53,  54,  62,  72,  77,  79,  84, 
85,  87,  88,  93,  94,  95,  96,  99,  101,  103,  115,  123,  126, 127,  145,  148,  154, 
168,  175,  187,  192,  209,  210,  216,  218,  223,  229,  231,  233,  235,  241,  244, 
245,  247,  248,  253,  254,  255,  259,  265,  269,  272,  273,  274,  276,  277,  280, 
286,  294,  296,  298,  299,  304,  305,  308,  309,  310,  312,  313,  322,  324,  326, 
327,  331,  334,  335,  337,  339,  340,  344,  346,  347,  348,  350,  352,  354,  356, 
358,  361,  363,  364,  366,  368,  372,  374,  376,  383,  384  ;  Vol.  II.  13,  15, 
17,  25,  33,  38,  44,  47,  53,  54,  55,  62,  63,  66,  68,  72,  75,  78,  79,  84,  90, 
94,  96,  98,  103,  104,  105,  106,  112,  116,  122,  124,  126,  130,  131,  132, 
133,  135,  137,  139,  140,  142,  149,  150,  151,  152,  153,  156,  157,  158, 160, 
164,  167,  170, 174,  175,  178,  183,  186,  187,  189,  190,  192,  194,  197,  198, 
199,  200,  202,  205,  207,  210,  211,  217,  219,  220,  222,  223,  232,  233,  234. 
236,  241,  246,  255,  256,  257,  259,  261,  262,  266,  274,  275,  277,  278,  285, 
293,  301,  309,  310,  321,  329,  330,  331,  333,  334,  335,  343,  344,  345,  347, 
349,  355,  356,  360,  361,  363,  365,  366. 

Art  Monthly  Review,  Vol.  II.  272. 

Art  Tour  in  Northern  Capitals  of  Europe,  Vol.  I.  27,  57. 

Atkinson,  J.  Beavington,  Vol.  I.  27,  54,  57,  158,  298,  317,  352  ;  Vol.  II. 

20,  63,  89,  94,  158,  183,  338. 
Atlantic  Monthly,  Vol.  I.  11,  28,  55,  56,  103,  277,  375  ;  Vol.  II.  259,  326. 

Ballu,  Roger,  Vol.  I.  35,  40,  205,  247,  268,  345  ;  Vol.  II.  34,  41,  287,  327. 

Baltic  Gazette,  Vol.  II.  283. 

Baltimore  American,  Vol.  II.  14. 

Baltimore  Every  Saturday,  Vol.  II.  339. 

Baltimore  Gazette,  Vol.  II.  128,  282. 

Baudelaire,  Charles,  Vol.  II.  16. 


2 


INDEX  TO  AUTHORITIES  QUOTED. 


Baxter,  Mr.  Sylvester,  Vol.  I.  68. 

Benjamin's  Contemporary  Art  in  Europe,  Vol.  I.  23,  45,  46,  68,  73,  91, 
109,  160,  185,  191,  202,  214,  222,  239,  245,254,  282,  298,  320,  322; 
Vol.  II.  54,  55,  68,  69,  79,  100,  116,  120,  155,  157,  166,  182,  204,  256, 
293,  299,  344. 

Benson,  Eugene,  Vol.  I.  42  ;  Vol.  II.  52,  109,  370. 

Berger,  Georges,  Vol.  II.  298. 

Bergerat,  Emile,  Vol.  I.  53,  86. 

Blackwood's  Magazine,  Vol.  I.  327. 

Blanc,  Charles,  Vol.  I.  229,  256,  297,  382  ;  Vol.  II.  93. 

Bonnin,  A.,  Vol.  I.  81,  219. 

Boston  Advertiser,  Vol.  I.  52,  68,  85,  175,  193,  203,  260,  325,  367 ;  Vol. 

II.  3,  191,  220,  227,  232,  267,  276,  293,  326,  341. 
Boston  Globe,  Vol.  I.  262  ;  Vol.  II.  175,  292. 
Boston  Herald,  Vol.  I.  307  ;  Vol.  II.  39. 
Boston  Post,  Vol.  I.  330  ;  Vol.  II.  250,  263. 
Boston  Saturday  Gazette,  Vol.  II.  22,  129. 
Boston  Sunday  Times,  Vol.  I.  311. 

Boston  Transcript,  Vol.  I.  15,  142,  199,  281,  332  ;  Vol.  II.  2,  39,  103,  123, 

175,  191,  262,  293. 
Boston  Traveller,  Vol.  II.  39,  188. 
Brewster,  Miss  Anne,  Vol.  I.  270 ;  Vol.  II.  60,  323. 
Brooklyn  Eagle,  Vol.  II.  163. 
Brooklyn  Union,  Vol.  II.  104. 

Brown,  Dr.  John  (in  Spare  Hours),  Vol.  II.  49,  286,  305  ;  (in  North  Brit- 
ish Review)  Vol.  II.  229. 
Bryant's  Oration,  Vol.  I.  144. 
Buffalo  Courier,  Vol.  II.  127. 
Burty,  Philippe,  Vol.  I.  371  ;  Vol.  II.  109. 

Carr,  J.  W.  Comyns,  Vol.  I.  265,  346  ;  Vol.  II.  88. 

C.  C.  in  New  York  Tribune,  Vol.  II.  76,  129. 

Chenier,  Vol.  II.  243. 

Chicago  Times,  Vol.  II.  76,  174,  251. 

Chicago  Tribune,  Vol.  II.  145. 

Chronique  des  Arts,  Vol.  I.  385. 

Cincinnati  Commercial, Vol.  I.  243. 

Claretie,  Jules,  Vol.  I.  120,  122,  307,  343  ;  Vol.  II.  42, 

Clement  de  Ris,  L.,  Vol.  II.  184. 

Clement,  Mrs.  C.  K,  Vol.  II.  64. 

Cleveland  Leader,  Vol.  I.  243. 

Colvin,  Sidney,  Vol.  I.  24,  79,  101,  109  ;  Vol.  II.  126,  192,  330. 

Contemporary  Art  in  Europe,  S.  G.  W.  Benjamin,  Vol.  I.  23,  45,  46,  68, 
73,  91,  109,  160,  185,  191,  202,  214,  222,  239,  245,  254,  282,  298,  320, 
322  ;  Vol.  II.  54,  55,  68,  69,  79,  100,  116,  120,  155,  157,  166,  182,  204, 
256,  293,  299,  344. 

Contemporary  French  Painters,  Vol.  I.  189. 

Contemporary  Review,  Vol.  II.  95. 

Conway,  Moncure  D.,  Vol.  I.  8,  345. 


INDEX  TO  AUTHORITIES  QUOTED.  3 


Cook,  Clarence,  Vol.  I.  133. 
Courrier  Artistique,  Vol.  II.  245. 

Critique  of  the  Brussels  Exposition  of  1874,  Vol.  II.  68. 
D'Abrest,  Paul,  Vol.  II.  6. 

Dafforne,  James,  Vol.  I.  280,  368 ;  Vol.  II.  27,  68,  80,  352. 

Delaborde,  Henri,  Vol.  I.  13. 

De  Saint-Santin,  Vol.  I.  90. 

Drumont,  Edouard,  Vol.  II.  240. 

Duplessis,  Georges,  Vol.  I.  202. 

Duranty,  Vol.  I.  247  ;  Vol.  II.  58. 

Duvergier  de  Hauranne,  Vol.  I.  92,  130,  190,  226,  319  ;  Vol.  II.  34,  65, 
99,  147. 

Edinburgh  Courant,  Vol.  II.  286. 

El  Diritto,  Rome,  Vol.  I.  243. 

English  Artists  of  the  Present  Day,  Vol.  I.  24,  79. 

Epochs  of  Painting,  Vol.  I.  174,  181,  242  ;  Vol.  II.  61,  274,  305. 

Etching  and  Etchers,  Vol.  I.  18,  155,  172,  176,  256,  327,  364,  366  ;  Vol. 

II.  17,  32,  161,  203,  284. 
Every  Saturday,  Vol.  I.  20,  166. 

Figaro,  Paris,  Vol.  I.  94. 

Figaro,  Supplement  to,  Vol.  II.  240. 

Fine  Arts  Quarterly,  Vol.  I.  105. 

Floerke,  Gustav,  Vol.  I.  68. 

Flor,  Charles,  Vol.  II.  181. 

Fol,  Walter,  Vol.  I.  265,  329. 

Forest  and  Stream,  Vol.  II.  303. 

Fors  Clavigera,  Vol.  II.  346. 

Forster,  Dr.,  Vol.  II.  145. 

Fortnightly  Review,  Vol.  I.  375  ;  Vol.  II.  182. 

Francis,  Dr.,  Vol.  I.  15,  184. 

Fraser's  Magazine,  Vol.  II.  230,  306. 

Galaxy,  The,  Vol.  I.  56. 

Galerie  Contemporaine,  Vol.  I.  86,  226  ;  Vol.  II.  181. 

Gautier,  Theophile,  Vol.  I.  8,  13,  15,  20,  51,  74,  92,  97,  112,  185,  221, 
225,  268,  290,  301  ;  Vol.  II.  92,  93,  101,  108,  120,  183,  245,  273. 

Gazette  des  Beaux-Arts,  Vol.  I.  1,  13,  35,  40,  41,  69,  90,  97,  136,  139,  197, 
202,  205,  213,  225,  247,  252,  265,  276,  289,  291,  297,  302,  329,  332,  345, 
371,  382 ;  Vol.  II.  34,  41,  51,  55,  58,  78,  88,  108,  109,  111,  125,  160, 
170,  172,  184,  197,  204,  215,  226,  239,  273,  287,  298,  299,  320,  327,  359, 
371. 

Gems  of  Modern  Belgian  Art,  Vol.  II.  316. 

Geschichte  der  bildenden  Kunste  im  neunzehnten  Jahrhundert,  Vol.  I.  258. 

Gonse,  Louis,  Vol.  I.  332. 

Grangedor,  J.,  Vol.  II.  78. 

Graphic,  The,  Vol.  I.  350 ;  Vol.  II.  14. 


4 


INDEX  TO  AUTHORITIES  QUOTED. 


Great  American  Sculptors,  Vol.  I.  151,  171  ;  Vol.  II.  67, 135,  162,  217,  256. 
Guellette,  Charles,  Vol.  II.  51. 

Hamerton,  P.  G.,  Vol.  I.  70,  72,  91,  150,  189,  198,  200,  213,  252,  274, 
291,  309,  329,  366,  375,  379 ;  Vol.  II.  5,  6,  8,  31,  51,  80,  107,  116,  148, 
183,  195,  196,  200,  238,  302,  306,  307,  340. 

Hamerton's  Contemporary  French  Painters,  Vol.  II.  368. 

Hamerton's  Etching  and  Etchers,  Vol.  I.  155,  172,  176,  256,  364  ;  Vol.  II. 
17,  32,  161,  203,  284. 

Hamerton's  Thoughts  about  Art,  Vol.  II.  347. 

Hand- Book  of  Ancient  and  Modern  Sculpture,  Vol.  II.  345. 

Hannay,  James,  Vol.  II.  286. 

Hare's  Walks  in  London,  Vol.  II.  37. 

Harper's  Magazine,  Vol.  I.  55,  263,  272. 

Hawthorne,  Nathaniel,  Vol.  II.  190,  277,  290. 

Herve,  Alfred,  Vol.  I.  1. 

Hodder,  George,  Vol.  I.  216,  266  ;  Vol.  II.  285. 

Home  Journal,  New  York,  Vol.  I.  19  ;  Vol.  II.  209. 

Hooper,  Lucy,  Vol.  I.  16,  94 ;  Vol.  II.  364. 

Houssaye,  Henry,  Vol.  I.  47,  132,  202,  276  ;  Vol.  II.  184. 

Illustrirte  Zeitung,  Vol.  I.  46. 
Irenseus,  Vol.  I.  168,  307,  333. 
Italian  Letter  to  New  York  Times,  Vol.  I.  333. 

Jameson,  Mrs.,  Vol.  I.  316. 

Jarves'  Art  Idea,  Vol.  I.  30,  44,  62,  63,  87,  103,  137,  146,  181,  183,  238, 

294,  340,  341,  366,  374,  383  ;  Vol.  II.  22,  30,  64,  143,  160,  162,  190, 

213,  219,  220,  277,  290,  294,  314,  334,  349. 
Jarves'  Art  Thoughts,  Vol.  I.  41,  74,  84,  151,  161,  164,  167,  196,  198,  200, 

205,  215,  250,  257,  275,  306 ;  Vol.  II.  33,  90,  122,  131,  136,  159,  320, 

347. 

Jordan,  Dr.  Max,  Vol.  1.  207,  284,  293 ;  Vol.  II.  193. 
Journal  des  Debats,  Vol.  I.  58. 
Journal  Officiel,  Vol.  I.  53. 

Kingsley,  Rev.  Charles,  Vol.  I.  105. 

Lafenestre,  Georges,  Vol.  I.  136. 
Lagenevais,  M.  F.  de,  Vol.  I.  226. 
Lagrange,  Leon,  Vol.  II.  320. 

Larousse,  Vol.  I.  379  ;  Vol.  II.  46,  221,  244,  302,  369. 

L'Art,  Vol.  I.  41,  81,  104,  140,  189,  219,  237,  346  ;  Vol.  II.  100,  107, 295. 

L'Art  Francais,  Vol.  I.  120. 

L'Art  Eomantique,  Vol.  II.  16. 

Lemonnier,  Camille,  Vol.  I.  385. 

Les  Artistes  de  mon  Temps,  Vol.  I.  229. 

Les  Trois  Musees  de  Londres,  Vol.  II.  301. 

Letter  to  New  York  Observer,  Vol.  I.  307. 


INDEX  TO  AUTHORITIES  QUOTED.  5 


Lewes,  Mr.,  Vol.  II.  182. 

Life  of  Dickens,  Vol.  I.  105,  125,  147,  176 ;  Vol.  II.  49,  83. 
Linton,  W.  J.,  Vol.  II.  35. 
Literary  World,  Vol.  II.  172. 
Liverpool  Mercury,  Vol.  I.  85. 
Lockhart's  Life  of  Scott,  Vol.  I.  311. 

London  Art  Journal,  Vol.  I.  137,  158,  193,  255,  266,  367  ;  Vol.  II.  20,  23, 

27,  54,  80,  155,  166,  185. 
London  Athenaeum,  Vol.  I.  12,  24,  88,  173,  350 ;  Vol.  II.  62,  66,  127, 

172,  185. 
London  Builder,  Vol.  I.  174 

London  Daily  News,  Vol.  I.  56,  280  ;  Vol.  II.  13,  43,  44,  297. 
London  Examiner,  Vol.  I.  167 ;  Vol.  II.  44. 
London  Globe,  Vol.  II.  333. 
London  Graphic,  Vol.  II.  138. 

London  Illustrated  News,  Vol.  I.  172 ;  Vol.  II.  149,  289,  321. 

London  Letter  to  New  York  Evening  Post,  Vol.  I.  367. 

London  Letter  to  New  York  Times,  Vol.  I.  253,  298. 

London  Mayfair,  Vol.  I.  99. 

London  Morning  Advertiser,  Vol.  I.  135. 

London  Morning  Post,  Vol.  II.  157. 

London  Observer,  Vol.  II.  126. 

London  Saturday  Review,  Vol.  I.  62. 

London  Spectator,  Vol.  II.  21. 

London  Standard,  Vol.  I.  12,  377  ;  Vol.  II.  149,  297,  333. 
London  Telegraph,  Vol.  II.  347. 

London  Times,  Vol.  I.  88,  109,  172,  173,  343,  350 ;  Vol.  II.  49,  105,  120, 

298,  299,  347. 
London  World,  Vol.  I.  107. 

Macaulay's  Life  and  Letters,  Vol.  II.  37. 

Macready's  Diary  and  Reminiscences,  Vol.  II.  83. 

Magazine  of  Art,  Vol.  I.  109,  350  ;  Vol.  II.  45,  74,  126,  127,  176,  224. 

Malassis,  M.,  Vol.  II.  50. 

Mantz,  Paul,  Vol.  I.  97,  112,  139,  302  ;  Vol.  II.  147,  172,  203,  273. 

Marble  Faun,  The,  Vol.  II.  290. 

Martineau,  Harriet,  Vol.  I.  233 ;  Vol.  II.  143. 

Memoirs  of  the  Countess  of  Blessington,  Vol.  I.  311,  339  ;  Vol.  II.  37,  83, 
308. 

Menard,  Rene,  Vol.  I.  41,  76,  81,  82,  90,  140,  162,  189,  225,  267,  276,  342 ; 

Vol.  II.  18,  108,  215,  226,  299,  371. 
Meyer,  Bruno,  Vol.  I.  287. 
Michel,  Emile,  Vol.  II.  111. 
Millet,  J.  B.,  Vol.  II.  326. 
Milwaukie  Evening  Wisconsin,  Vol.  II.  251. 

Modern  Painters,  Tytler,  Vol.  I.  77, 176,  245,  305,  337,  341,  356,  373,  375, 
378  ;  Vol.  II.  34,  37,  49,  66,  83,  98,  116,  140,  179,  216,  294,  314,  334, 
337,  347,  367. 

Moniteur  Universel,  Vol.  II.  245. 


6 


INDEX  TO  AUTHORITIES  QUOTED. 


Montaiglon,  Anatole  de,  Vol.  II.  125. 
Montegut,  Emile,  Vol.  I.  75. 
Montrosier,  Eugene,  Vol.  I.  226. 
Moscow  Gazette,  Vol.  II.  283. 
Munich  News,  Vol.  II.  282. 

Miintz,  Eugene,  Vol.  I.  69,  252  ;  Vol.  II.  88,  212. 

New  York  Arcadian,  Vol.  I.  249  ;  Vol.  II.  45. 

New  York  Citizen,  Vol.  II.  71. 

New  York  Evening  Express,  Vol.  II.  165,  209. 

New  York  Evening  Mail,  Vol.  I.  247  ;  Vol.  II.  123. 

New  York  Evening  Post,  Vol.  I.  56,  98,  123,  227,  313,  322,  336,  377,  383  ; 

Vol.  II.  75,  96,  132,  162,  198,  261,  270,  343. 
New  York  Graphic,  Vol.  I.  350  ;  Vol.  II.  14. 
New  York  Herald,  Vol.  II.  14,  259. 
New  York  Independent,  Vol.  II.  287. 
New  York  Leader,  Vol.  II.  249. 
New  York  Morning  Journal,  Vol.  II.  291. 
New  York  Nation,  Vol.  I.  232 ;  Vol.  II.  236. 
New  York  Observer,  Vol.  I.  168. 
New  York  Round  Table,  Vol.  II.  122. 
New  York  Sun,  Vol.  II.  303. 
New  York  Telegram,  Vol.  II.  151. 

New  York  Times,  Vol.  I.  12,  79,  94,  233,  296,  328,  335,  336,  383  ;  Vol.  II. 

13,  105,  117,  206,  210. 
New  York  Tribune,  Vol.  I.  133,  170,  207,  248  ;  Vol.  II.  76,  121,  129,  249, 

253,  291. 

New  York  Turf,  Field,  and  Farm,  Vol.  II.  291. 

New  York  World,  Vol.  II.  30. 

North  American  Review,  Vol.  I.  55. 

North  British  Review,  Vol.  II.  229. 

Notes  on  Art  in  Horae  Subsecivse,  Vol.  II.  230. 

Obermayer,  Eugen,  Vol.  II.  88. 
Old  and  New,  Vol.  I.  131. 
Old  New  York,  Vol.  I.  15. 
Ottley,  Henry,  Vol.  I.  3. 

Palgrave's  Essays  on  Art,  Vol.  I.  19,  23,  48,  49,  83,  115,  153,  175,  186, 
209,  231,  239,  245,  279,  293,  339,  347,  372,  373,  375  ;  Vol.  II.  46,  54, 
66,  78,  94,  96,  98,  138,  142,  152,  155,  166,  179,  187,  194,  233,  247,  295, 
333,  334,  337,  344,  347,  366. 

Pall  Mall  Budget,  Vol.  I.  170. 

Pall  Mall  Gazette,  Vol.  II.  72,  74. 

Paris  Correspondent  of  Appletons'  Journal,  303. 

Paris  Figaro,  Vol.  I.  94. 

Pecht,  Fr.,  Vol.  II.  257. 

Philadelphia  Evening  Bulletin,  Vol.  I.  40,  270  ;  Vol.  II.  128. 
Philadelphia  Evening  Telegraph,  Vol.  II.  353,  359. 


INDEX  TO  AUTHORITIES  QUOTED. 


7 


Philadelphia  Journal,  Vol.  I.  328. 
Pietsch,  Ludwig,  Vol.  I.  46. 

Portfolio,  The,  Vol.  I.  70,  76,  81,  82,  92,  136,  162,  180,  252,  253,  265,  327, 

342  ;  Vol.  II.  5,  31,  51,  88,  89,  306,  307. 
Portland  Transcript,  Vol.  I.  102. 

Proth,  Mario,  Vol.  I.  47,  180,  197,  332  ;  Vol.  II.  42,  134,  170,  220. 
Publica  Opinione,  Naples,  Vol.  I.  243. 

Redgrave's  Century  of  Painters,  Vol.  I.  373. 
Revolution,  The,  Vol.  I.  260,  270 ;  Vol.  II.  66. 

Revue  des  Deux  Mondes,  Vol.  I.  47,  75,  92,  130,  132,  201,  203,  226,  276, 

319  ;  Vol.  II.  34,  65,  93,  99,  111,  147,  184. 
Richmond  Enquirer,  Vol.  II.  290. 
Robinson,  Henry  Crabbe,  Diary  of,  Vol.  II.  305. 
Rossetti,W.  M.,  Vol.  I.  105,  372  ;  Vol.  II.  44,  49,  265,  347,  368. 
Ruskin,  John,  Vol.  II.  61,  65,  139,  148,  305,  346. 

Ruskin's  Modern  Painters,  Vol.  I.  126,  167,  172,  176,  275,  375  ;  Vol.  II. 

37,  70,  161,  196,  197,  216,  284,  305. 
Ruskin's  Notes  of  the  Academy,  Vol.  I.  10,  12,  22,  71,  110,  145,  147,  153, 

177,  308,  326,  364,  376  ;  Vol.  II.  70,  74,  94,  157,  178,  187,  192,  224, 

293,  300,  338. 

Ruskin's  Notes  on  the  Pictures  of  the  Year,  Vol.  II.  62. 

Sainte-Beuve,  M.,  Vol.  I.  371. 

San  Francisco  Morning  Call,  Vol.  II.  127. 

Sargent,  J.  T.,  Vol.  II.  175. 

Saturday  Review,  Vol.  II.  37,  74. 

Scott,  William  B.,  Gems  of  Modern  Belgian  Art,  Vol.  II.  316. 

Scribner's  Monthly  Magazine,  Vol.  I.  55. 

Semper,  Dr.  Hans,  Vol.  II.  2. 

Silvestre,  Theophile,  Vol.  I.  195  ;  Vol.  II.  120. 

Smiles'  Self-Help,  Vol.  II.  305. 

Springer,  Anton,  Vol.  I.  258. 

Springfield  Republican,  Vol.  I.  271,  330  ;  Vol.  II.  253. 
Staats  Zeitung,  New  York,  Vol.  II.  185. 
Stedman's  Victorian  Poets,  Vol.  II.  224. 
St.  Louis  Globe,  Vol.  II.  106. 
St.  Louis  Journal,  Vol.  I.  321. 

Sunday  Bulletin,  Baltimore,  Vol.  I.  38,  72  ;  Vol.  II.  8. 
Swiss  Times,  Vol.  II.  306. 

Taine's  Notes  on  England,  Vol.  II.  230. 
Taylor,  Bayard,  Vol.  I.  207  ;  Vol.  II.  121. 

Taylor,  Tom,  Vol.  I.  116,  126,  266,  360  ;  Vol.  II.  62,  138,  276,  365,  366. 
Thackeray,  Vol.  I.  176  ;  Vol.  II.  49,  306. 
Thackeray,  The  Humorist,  Vol.  II.  286. 
Thackerayana,  Introduction  to,  Vol.  II.  286. 
Timbal,  Ch.,  Vol.  I.  197,  213,  289,  291  ;  Vol.  II.  Ill,  170,  298. 
Times,  New  York,  Vol.  I.  12,  79,  94,  233,  296,  328,  335,  336,  383  ;  Vol, 
II.  13,  105r  117,  206,  210. 


8 


INDEX  TO  AUTHORITIES  QUOTED. 


Treasury  of  Art  in  Great  Britain,  Vol.  II.  305. 
Trollope,  T.  Adolphus,  Vol.  II.  297. 

Tuckerman's  Book  of  the  Artists,  Vol.  I.  11,  29,  31,  44,  52,  62,  64,  67,  79, 
87,  93,  121,  123,  125,  135,  137,  144,  148,  151,  169,  171,  184,  215,  236, 
238,  255,  260,  270,  286,  296,  313,  322,  327,  334,  337,  339,  340,  341,  346, 
354,  362,  370,  378,  383;  Vol.  II.  12,  22,  38,  47,  61,  100,  115,  135,  143, 
160,  162,  190,  210,  212,  213,  219,  225,  227,  251,  263,  268,  279,  334,  342, 
343,  348,  350,  360. 

Tupper,  J.  L.,  Vol.  II.  288,  361. 

Tuthill,  Mrs.,  Introduction  to  Beauties  of  Ruskin,  Vol.  II.  230. 
Twice-Told  Tales,  Vol.  II.  289. 

Tytler,  Mrs.,  Vol.  I.  77,  176,  245,  305,  337,  341,  356,  373,  375,  378  ;  Vol. 

11.  34,  37,  49,  66,  83,  98,  116,  140,  179,  216,  294,  314,  334,  337,  347, 
367. 

Unsere  Zeit,  Vol.  II.  295. 

Vapereau,  Vol.  I.  73  ;  Vol.  II.  8,  20,  85,  89,  281. 
Vernet,  Horace,  Vol.  I.  291. 
Viardot,  Louis,  Vol.  II.  239. 
Victor  Hugo,  Vol.  I.  35,  82. 

Voyage  au  Pays  des  Peintres,  Vol.  I.  47,  180,  197,  332 ;  Vol.  II.  42,  134, 
170,  220. 

Waagen,  Dr.,  Treasury  of  Art  in  Great  Britain,  Vol.  II.  305. 

Wallis,  H.,  Vol.  II.  120. 

Washington  Evening  Star,  Vol.  II.  106. 

Weir,  Prof.,  Official  Report  of  the  American  Centennial  Exhibition,  Vol.  I. 

12,  17,  56,  62,  64,  94,  98,  101,  116,  138,  139,  148,  174,  192,  203,  227, 
245,  253,  260,  275,  276,  286,  295,  296,  300,  303,  313,  322,  335,  347,  357, 
361,  363,  370,  375,  377 ;  Vol.  II.  12,  30,  54,  100,  105,  111,  117,  142,  164, 
174,  195,  207,  210,  222,  247,  252,  256,  278,  292,  301,  314.  328,  350. 

Westminster  Review,  Vol.  I.  176. 
Wolff,  M.  Albert,  Vol.  I.  94. 

Wornum's  Epochs  of  Painting,  Vol.  1.  174,  181,  242  ;  Vol.  II.  61,  274,  305. 
Yriarte,  Charles,  Vol.  II.  99,  197. 

Zeitschrift  fur  bildende  Kunst,  Vol.  I.  46,  49,  70,  191,  217,  251,  287,  355  ; 

Vol.  II.  6,  69,  88,  110,  137,  145,  193,  212,  246,  313. 
Zola,  Emile,  Vol.  II.  89. 


INDEX  OF  PLACES. 


Aix. 

Council  Chamber,  Vol.  II.  206. 

Albany. 

State  Capitol,  Vol.  I.  374. 
State  Library,  Vol.  I.  238,  340, 
377. 

ALENgON. 

Museum,  Vol.  II.  42,  50. 
Amiens. 
Museum,  Vol.  I.  35,  73  ;  Vol.  II. 
59. 

Palace  of  Justice,  Vol.  II.  233. 

Andover. 

Phillips  Academy,  Vol.  II.  275. 
Angers. 

Hospice  of  St.  Marie,  Vol.  I.  184. 

Museum,  Vol.  1. 184. 
Annapolis. 

Picture  at,  Vol.  II.  348. 
Antwerp. 

Church  of  St.  George,  Vol.  I.  318. 

City  of,  Vol.  II.  311. 

Hotel  de  Ville,  Vol.  II.  67. 

Museum,  Vol.  I.  89. 
Arezzo. 

Cathedral,  Vol.  I.  57. 
Arras. 

Cathedral,  Vol.  I.  187. 
Assisi. 

Church  of  St.  Agnes,  Tol.  II.  158. 

Avignon. 
City  of,  Vol.  II.  317. 
Museum,  Vol.  I.  20  ;  Vol.  II.  317. 
Gallery  Vernet  at,  Vol.  II.  318. 


Avranches. 

Gallery,  Vol.  II.  50. 

Baltimore. 
Peabody  Institute,  Vol.  II.  102, 
201,  213. 
Basle. 

Museum,  Vol.  I.  68  ;  Vol.  II.  133. 
Berlin. 

Belle- Alliance  Platze,  Vol.  II.  133. 

Campo  Santo,  Vol.  I.  157. 

Castle  Bridge,  Vol.  I.  66, 

Cathedral,  Vol.  II.  296. 

Chateau,  Vol.  I.  217. 

Hotel  de  Ville,  Vol.  I.  353 ;  Vol. 
II.  246. 

Menagerie,  Vol.  I.  217. 

National  Gallery,  Vol.  I.  3,  4,  6, 
13,  46,  47,  48,  49,  53,  54,  60, 
65,  66,  67,  71,  89,  90,  98,  114, 
115,  125,  157,  172,  178,  191, 
206,  207,  217,  224,  234,  239, 
243,  252,  254,  270,  278,  283, 
284,  287,  288,  289,  292,  293, 
294,  308,  309,  315,  316,  320, 
336,  343,  345,  351,  352,  353, 
354,  360,  364,  370,  372,  376, 
384;  Vol.11.  3,  4,  9,  17, 18,  19, 
23,  24,  26,  27,  28,  29,  40,  63, 
68,  76,  85,  87,  89,  102,  110, 
112,  113,  114,  124,  133,  143, 
158,  163,  165,  176,  186,  193, 
206,  211,  212,  231,  240,  241, 
242,  243,  244,  246,  248,  255, 
263,  265,  270,  271,  279,  301, 
313,  314,  326,  328,  329,  339, 
342,  355,  356,  358,  359,  372. 


10 


INDEX  OF  PLACES. 


New  German  Parliament  House, 
Vol.  II.  247. 

New  Museum,  Vol.  I.  308  ;  Vol. 
II.  20,  163,  242,  243. 

New  Theater,  Vol.  II.  296. 

Opera  House,  Vol.  I.  353. 

Querhalle  of  the  National  Gal- 
lery, Vol.  I.  243. 

Rathhaus,  Vol.  II.  279. 

Royal  Bridge,  Vol.  II.  246. 

Royal  Museum,  Vol.  I.  279. 

Salle  des  Etets,  Vol.  II.  296. 

University  Library,  Vol.  II.  25. 
Beziers. 

Museum,  Vol.  II.  42. 
Bombay. 

Statue  of  the  Prince  of  "Wales, 
Vol.  I.  71. 
Bonn. 

Statue  at,  Vol.  I.  324. 
Bordeaux. 

City  of,  Vol.  II.  302. 

Museum,  Vol.  I.  62,  143,  228, 
343  ;  Vol.  II.  240,  284. 

Palace  of  Justice,  Vol.  II.  10. 

Theater,  Vol.  I.  80. 

Boston. 

Art  Club,  Vol.  I.  55,  102,  230, 
254. 

Athenseum,  Vol.  I.  10,  102,  144, 

170,  204,  306,  371,  382  ;  Vol. 

II.  1,  20,  144,  159. 
Central  Club,  Vol.  I.  292. 
City  Hall  Square,  Vol.  I.  314. 
Faneuil  Hall,  Vol.  I.  341. 
Herald  Building,  Vol.  I.  306. 
Great  Organ,  Vol.  I.  63.  > 
Horticultural  Hall,  Vol.  II.  122. 
Marine  Insurance  Company,  Vol. 

II.  39. 
Museum,  Vol.  II.  279. 
Museum  of  Fine  Arts,  Vol.  I.  21, 

159,  164,  166,  170,  230,  240  ; 

Vol.  II.  119,  125,  245. 


Music  Hall,  Vol.  I.  63,  170. 
Public  Garden,  Vol.  II.  277,  334. 
Public  Library,  Vol.  I.  16,  21, 

30  ;  Vol.  II.  122,  191,  367. 
Shoe  and  Leather  Association, 

Vol.  L  248,  249. 
Soldiers'  Monument,  Vol.  II.  122. 
Somerset  Club,  Vol.  I.  146  ;  VoL 

II.  262. 

Trinity  Church,  Vol.  II.  30,  40. 
Union  Club,  Vol.  I.  146. 

Boulogne. 
Museum,  Vol.  II.  47. 
Sculptures,  Vol.  I.  197. 

Brecon. 

Statue  of  Wellington,  Vol.  II. 
288. 
Bremen. 

Exchange,  Vol.  II.  8. 
Brescia. 

Museum,  Vol.  I.  250. 

Brooklyn. 

Mercantile  Library,  Vol.  II.  351. 
Prospect  Park,  Vol.  II.  81. 

Bruges. 

Gallery,  Vol.  I.  208. 
Brussels. 

Church  of  St.  Jacques,  Vol.  II. 
188. 

Hospital  of  St.  John,  Vol.  I.  288. 
Hotel  de  Ville,  Vol.  I.  267  ;  Vol. 
II.  338. 

Museum,  Vol.  I.  328  ;  Vol.  II. 
67,  99,  143,  257,  273,  310, 
315. 

Royal  Theater,  Vol.  II.  188. 
Senate  Chamber,  Vol.  L  280. 
Wilson  Gallery,  Vol.  I.  205. 

Buffalo. 

Academy  of  Fine  Arts,  Vol.  I.  7P 

61  ;  Vol.  II.  173. 
Natural  Science  Rooms,  Vol.  IL 

249. 


INDEX  OF  PLACES. 


11 


Caen. 

Cathedral,  Vol.  I.  22. 

Museum,  Vol.  I.  241  ;  Vol.  II.  9. 
Calcutta. 

Statues  at,  Vol.  I.  71  ;  Vol.  II. 
341. 
Cambrai. 

Museum,  Vol.  I.  196. 
Cambridge,  England. 

Caius  College,  Vol.  II.  336. 

Fitzwilliam  Museum,  Vol.  I.  36. 

King's  College,  Vol.  I.  24. 

Museum,  Vol  II.  191. 

Pembroke  College,  Vol.  II.  336. 

St.  Mary's  Church,  Vol.  I.  23. 
Cambridge,  IT.  S.  A. 

Harvard  Library,  Vol.  I.  306. 

Carcassonne. 

Museum,  Vol.  I.  206. 

Cardiff. 

Statue  at,  Vol.  II.  288. 
Carlisle. 

Cathedral,  Vol.  I.  4. 

Statue  of  James  Steele,  Vol.  II. 
360, 
Carlsruhe. 

Gallery,  Vol.  II.  63. 

Museum,  Vol.  I.  278. 
Cassel. 

Gallery,  Vol.  I.  234. 
Castellani. 

Church  of,  Vol.  II.  131. 
Celle. 

Monument  at,  Vol.  I.  336. 
Certaldo. 

Picture  of  Boccaccio,  Vol.  L  57. 
Christiana. 

Gallery,  Vol.  I.  234. 
Christiansborg. 

Gallery,  Vol.  I.  57. 

COLMAR. 

Monument  to  Schongauer,  Vol.  I. 
36. 


Cologne. 

Cathedral,  Vol.  I.  6;  Vol.  II. 
271. 

Museum,  Vol.  I.  53;  Vol.  II. 

244,  271,  313. 
Statue  of  Frederick  William  III., 

Vol.  I.  66. 
Concord. 

Battle-Ground,  Vol.  I.  271. 
Library,  Vol.  I.  306. 
Constance. 
Government  Buildings,  Vol.  II. 

329. 

Copenhagen. 

Gallery,  Vol.  I.  320. 
Royal  Castle,  Vol.  II.  10. 

COOKHAM. 

Church  at,  Vol.  I.  24. 

CORTE. 

Cathedral,  Vol.  I.  33. 

COURTRAI. 

Museum,  Vol.  II.  22. 
Crefeld. 
Hotel  de  Ville,  Vol.  II.  8. 

Dalecarlia. 
National  Monument  of  Mora,  VoL 

I.  359. 
Detmold. 

Monument  at,  Vol.  I.  32. 
Dijon. 

Church  of  St.  Peter,  Vol.  I.  201. 

Museum,  Vol.  I.  1,  113,  206,  301; 
Vol.  II.  50,  147. 
Douai. 

Museum,  Vol.  I.  134,  158. 
Dresden. 

Bruhl  Terrace,  Vol.  II.  241. 

Court  Theater,  Vol.  I.  360. 

Gallery,  Vol.  II.  198,  357. 

Hospital  of  St.  Maternite,  Vol. 

II.  250. 

Museum,  Vol.  II.  249,  326. 


12 


INDEX  OF  PLACES. 


New  Theater,  Vol.  I.  234. 
Royal  Castle,  Vol.  I.  54. 
Statue  at,  Vol.  I.  324. 
Dublin. 

Art  Union,  Vol.  I.  82. 
National  Gallery,  Vol.  I.  266. 

DuNKELD. 

Cathedral,  Vol.  II.  269. 

DuSSELDORF. 

Art  Union,  Vol.  II.  63. 
Gallery,  Vol.  II.  136,  295. 
Maximilian  Church,  Vol.  II.  250. 

Eagleswood. 

Art  Pottery,  Vol.  II.  266. 
Edinburgh. 

Cathedral  of  St.  Mary's,  Vol.  II. 
247. 

National  Gallery,  Vol.  I.  9,  98, 
136,  218,  224,  355,  378  ;  Vol. 
II.  41,  166,  171,  271. 
Royal  Scottish  Academy,  Vol.  I. 
210. 
Elberfeld. 

Council  Chamber,  Vol.  II.  135. 
Erfurt. 

Hotel  de  Ville,  Vol.  II.  9. 
Eton. 

Statue  at,  Vol.  II.  341. 

Faenza. 

Picture  at,  Vol.  II.  123. 
Feurs. 

Church  of,  Vol.  I.  74. 
Florence. 

Cathedral,  Vol.  II.  163. 

Church  of  San  Lorenzo,  Vol.  I. 
56,  247. 

Gallery  of  Modern  Paintings,  Vol. 

I.  124  ;  Vol.  II.  140,  186,  308. 
Iconographic  Gallery,  Vol.  I.  60. 
Loggia  dei  Lanzi,  Vol.  I.  250. 
Medici  Chapel,  Vol.  I.  56. 


Museum  of  San  Marco,  Vol.  I.  39. 
Palace  of  Mme.  Favart,  Vol.  I. 
283. 

Palazzo  Vecchio,  Vol.  II.  168. 
Piazza  Santa  Croce,  Vol.  II.  168. 
Pitti  Gallery,  Vol.  I.  37,  60,  223, 
226. 

Pitti  Palace,  Vol.  I.  56. 

San  Donato  Gallery,  Vol.  I.  279. 

Santa  Croce,  Church  of,  Vol.  I. 

226,  247  ;  Vol.  II.  234,  312. 
Villa  Oppenheim,  Vol.  II.  181, 

250. 

Fontainebleau. 

Palace  of,  Vol.  I.  134  ;  Vol.  II. 
50. 
Foth. 

Church  of,  Vol.  I.  64. 
Frankfort. 

Imperial  Hall,  Vol.  II.  271. 

Museum,  Vol.  II.  67,  177. 

Staedel  Institute,  Vol.  II.  158, 
237. 

Geneva. 

Museum,  Vol.  I.  206. 

Town  Council  of,  Vol.  II.  314. 
Genoa. 

Hospitals,  Vol.  II.  214,  312. 
Gera. 

Soldiers'    Monument,   Vol.  II. 
246. 
Ghent. 

Museum,  Vol.  I.  82,  320  ;  Vol. 

II.  67. 
Glasgow. 
Art  Union,  Vol.  II.  364. 
Cathedral,  Vol.  I.  352 ;  Vol.  II. 

269. 

Statue  of  the  Queen,  Vol.  II.  94. 
University,  Vol.  II.  247. 

Gleiwitz. 

Monument  at,  Vol.  I.  336. 


INDEX  OF  PLACES. 


13 


GOTHA. 

Museum,  Vol.  I.  292. 
Grafenegg. 

Castle,  Vol.  II.  184. 
Grenoble. 

Gallery,  Vol.  I.  341. 

Museum,  Vol.  I.  134. 
Griefswald. 

University,  Vol.  I.  5. 
Gropello. 

Statue  at,  Vol.  II.  97. 
Gross-Gmehlen. 

Church  at,  Vol.  II.  342. 

Haarlem. 

Museum,  Vol.  II.  113,  144. 
Hague,  The. 

Museum,  Vol.  I.  82;  Vol.  II.  143. 
Hal. 

Monument  at,  Vol.  I.  303. 

Hamburg. 
Church  of  St.  Nicolas,  Vol.  II. 
250. 

Museum,  Vol.  I.  287  ;  Vol.  II. 
253. 
Hanthem. 

Church  at,  Vol.  I.  288. 
Harrisburg. 

Capitol  at,  Vol.  II.  225. 
Hartford. 

Bushnell  Park,  Vol.  I.  37. 

Clark  Family  Monument,  Vol.  I. 
37. 

Colonel  Colt,  Monument  to,  Vol. 
II.  218. 

New  Capitol,  Vol.  I.  386  ;  Vol. 
II.  219. 

Wadsworth  Gallery,  Vol.1. 36, 144. 
Haverhill. 

Public  Library,  Vol.  II.  191. 
Havre. 

Museum,  Vol.  II.  42,  132. 


Hingham. 

Monument  at,  Vol.  I.  306. 

K.ONIGSBERG. 

Museum,  Vol.  I.  89,  172  ;  Vol. 

II.  244. 
Town  Gallery,  Vol.  I.  172. 
University,  Vol.  I.  308  ;  Vol.  II. 

241. 

KoNIGSBRUNN. 

Church  at,  Vol.  II.  329. 
Kreuzberg. 

Monument  at,  Vol.  II.  296. 

Langres. 
Museum,  Vol.  I.  76,  158. 

Laon. 

Church  of  Notre  Dame,  Vol.  I. 
71. 

Lausanne. 

Museum,  Vol.  I.  206,  302. 
Leghorn. 

Church  of  the  Soccorso,  Vol.  I. 
199  ;  Vol.  II.  186. 

Statue  at,  Vol.  II.  192. 
Leipsic. 

Museum,  Vol.  I.  5,  50,  54,  60, 
106,  114,  191,  239,  283,  284, 
289,  318,  324,  351,  352  ;  Vol. 
II.  7,  26,  69,  76,  186,  193,  194, 
206,  222,  240,  243,  244,  246, 
248,  263,  267,  284,  304,  326, 
328,  339,  358. 

Eoman  House  at,  Vol.  II.  358. 
Lemberg. 

Hotel  des  Invalides,  Vol.  I.  303. 

Lexington. 

Town  Hall,  Vol.  I.  306. 
Lichfield. 

Cathedral,  Vol.  II.  260. 
Lichtenstein. 

Church,  Vol.  II.  342. 
Lichterfelde. 

Cadet  House,  Vol.  II.  178. 


14 


INDEX  OF  PLACES. 


LlEGE. 

Museum,  Vol.  I.  279. 
Lille. 

Museum  or  Gallery,  Vol.  I.  40, 
62,  75,  226,  359  ;  Vol.  II.  47, 
53,  147,  240. 
Limerick. 

Roman  Catholic  Cathedral,  Vol.  I. 
331. 
Lisbon. 

Royal  Palace,  Vol.  I.  217. 
Liverpool. 

Gallery,  Vol.  II.  250. 
Lime  Street  Station  Hotel,  Vol. 
II.  336. 

Royal  Exchange,  Vol.  II.  361. 
St.  George's  Hall,  Vol.  I.  4  ;  Vol. 

II.  287. 
London. 
Albert  Hall,  Vol.  I.  23. 
Albert  Memorial,  Vol.  I.  24,  50, 

259  ;  Vol.  II.  287,  341. 
Art  Union,  Vol.  II.  165. 
Battersea  Park,  Vol.  II.  171. 
Buckingham  Palace,  Vol.  I.  231, 

316  ;  Vol.  II.  171. 
Charing  Cross  Hotel,  Vol.  I.  36. 
City  Club,  Vol.  I.  331. 
Covent  Garden  Theater,  Vol.  I.  36. 
Crystal  Palace,  Vol.  II.  94,  361. 
Dudley  Gallery,  Vol.  I.  169,  246, 

247  ;  Vol.  II.  17,  321. 
Euston  Square  Railway  Terminus, 

Vol.  I.  331. 
Exchange,  Vol.  II.  76. 
Fine  Art  Society,  Vol.  II.  292. 
Foreign  Office,  Vol.  I.  50. 
Garrick  Club,  Vol.  I.  140. 
Goldsmith's  Hall,  Vol.  I.  330. 
Greenwich  Hospital,  Vol.  1.  49  ; 

Vol.  II.  82,  287. 
Grosvenor  Gallery,  Vol.  I.  169, 

326;  Vol.  II.  17,  125,  147, 

269,  337. 


Guildhall,  Vol.  I.  50,  229  ;  VoL 
II.  359. 

House  of  Commons,  Vol.  II.  333. 
House  of  Lords,  Vol.  I.  365  ;  Vol. 
II.  287. 

Houses  of  Parliament,  Vol.  I.  23, 
50,  154,  230,  232,  257,  365  ; 
Vol.  II.  82,  83,  95,  139,  337. 

India  House,  VoL  II.  341. 

International  Exhibition  Build- 
ings, Vol.  I.  266. 

Lincoln's  Inn,  Vol.  I.  331  ;  Vol. 
II.  337. 

Lloyd's,  Vol.  II.  76. 

Mansion  House,  Vol.  I.  228,  229, 
271. 

Marine  Gallery,  Vol.  I.  55. 

Middle  Temple,  Vol.  I.  228. 

National  Gallery,  Vol.  I.  36,  83, 
141,  152,  154,  231,  233,  236, 
241,  269,  274,  303,  324,  351, 
365  ;  Vol.  II.  14,  15,  32,  33, 
'35,  36,  48,  61,  69,  71,  83,  137, 
155,  180,  202,  216,  268,  304, 
308,  333,  340,  352,  353,  358. 

Royal  Academy,  Vol.  I.  139,  194, 
209,  234  ;  Vol.  II.  54. 

South  Kensington  Museum,  Vol.  I. 
266 ;  Vol.  II.  36,  207,  288,  336. 

St.  James'  Hall,  Piccadilly,  Vol. 
II.  15. 

St.  Katherine's  Docks,  Vol.  1.330. 
St.  Paul's  Cathedral,  Vol.  I.  49  ; 

Vol.  II.  95,  272,  287,  360. 
Temple  Church,  Vol.  II.  260. 
Temple  Hall,  Vol.  I.  24. 
University,  Vol.  I.  229  ;  Vol.  II. 

171. 

Victoria  Park,  Vol.  II.  171. 
"Westminster  Abbey,  Vol.  I.  4, 

23,  49  ;  Vol.  II.  95,  287,  361. 
Westminster  Hall,  Vol.  I.  365  ; 

Vol.  II.  285. 
Westminster  Palace,  Vol.  II  285, 

337. 


INDEX  OF  PLACES. 


15 


LOUVAIN. 

Museum,  Vol.  II.  99. 
Louisville. 

Statue  at,  Vol.  I.  333. 
Lynn. 

Soldiers'  Monument,  Vol.  I.  2. 

Lyons. 
Museum,  Vol.  I.  60,  74. 

Madrid. 

Museum,  Vol.  I.  124. 
Magdebourg. 

Church  of  St.  Jacques,  Vol.  II. 
270. 

Francke  Monument,  Vol.  I.  66. 

Manchester. 

Assize  Courts,  Vol.  II.  336. 

Owens  College,  Vol.  II.  336. 

Salford  Gaol,  Vol.  II.  336. 

Statue  of  Sir  Robert  Peel,  Vol. 
II.  95. 
Marienburg. 

Castle,  Vol.  II.  25. 

Statue  of  Duke  Albert,  Vol.  I. 
66. 

Marienwerder. 

Cathedral,  Vol.  II.  186, 
Marseilles. 

Cathedral,  Vol.  I.  221. 

Museum,  Vol.  I.  158,  196,  328, 
330  ;  Vol.  II.  179,  196,  264. 
Meissen. 

Church,  Vol.  I.  370. 

Royal  Castle,  Vol.  I.  234. 
Metz. 

Museum,  Vol.  I.  158. 

Rabbinical  School,  Vol.  I.  71. 

Milan. 

Piazza  San  Sepolcro,  Vol.  I.  162. 
Theater  of  La  Scala,  Vol.  II.  278. 
Mons. 

Museum,  Vol.  I.  82. 


MONTAUBAN. 

Cathedral,  Vol.  I.  381. 
Museum,  Vol.  I.  301. 

MONTPELIER. 

Statue  at,  Vol.  II.  106. 

MONTPELLIER. 

Museum,  Vol.  I.  58. 
Promenade,  Vol.  I.  25. 

Montreal. 

Victoria  Square,  Vol.  II.  359. 

Moscow. 

Peter-Paul  Church,  Vol.  II.  329. 

MULHOUSE. 

Museum,  Vol.  I.  301. 

Munich. 
Basilica  of  St.  Boniface,  Vol.  I. 
352. 

Church  of  Maria  Hilf,  Vol.  I.  352. 
Church  of  St.  Ludwig,  Vol.  I. 
157. 

Glyptothek,  Vol.  I.  157,  206; 

Vol.  II.  76. 
Konigsbau,  Vol.  I.  207. 
Maximilianeum,  Vol.  I.  319; 

Vol.  II.  182,  221. 
Museum,  Vol.  II.  29,  193,  242, 

244. 

New  Residence,  Vol.  I.  260. 
Niebelungen,  Grand  Hall  of,  Vol. 
II.  7. 

Niederwald,  National  Monument 

at,  Vol.  II.  241. 
Pinakothek,  Vol.  I.  2,  157,  278, 

337 ;  Vol.  II.  53,  182,  207. 

MUNSTER. 

Cathedral,  Vol.  I.  3. 
Church  of  St.  ^Egidius,  Vol.  II. 
271. 

Nantes. 

Museum,  Vol.  I.  40,  90,  184. 
Naples. 

Chapel  Royal,  Vol  TI.  132. 


16 


INDEX  OF  PLACES. 


Chureh  of  St.  Severe,  Vol.  1. 126, 
127. 

Conservatorio,  Vol.  I.  22. 
Narbonne. 

Museum,  Vol  I.  97. 

Neveks. 

Grand  Place  of,  Vol.  II.  59. 

Museum,  Vol.  I.  330. 
Neitchatel. 

Museum,  Vol.  I.  299. 
Neuss. 

Old  Church,  Vol.  I.  157. 

Nevers. 

Museum  of,  Vol.  I.  330. 
Newcastle-on-Tyne. 

Statue  at,  Vol.  II.  76. 
New  Orleans. 

Statue  at,  Vol.  I.  332. 

Newport. 

Statue  at,  Vol.  II.  334. 

New  York. 

Apollo  Association,  Vol.  II.  348. 
Arcadian  Club,  Vol.  I.  369. 
Art  Union  Gallery,  Vol.  II.  21,  46. 
Astor  Library,  Vol.  II.  135. 
Bar  Association,  Vol.  I.  330  ; 

Vol.  II.  125. 
Belmont  Gallery,  Vol.  I.  61,  78, 

192,  296  ;  Vol.  II.  111. 
Booth's  Theater,  Vol.  I.  306. 
Central  Park,  Vol.  I.  30,  170, 
251  ;  Vol.  II.  2,  81,  291,  334. 
Century  Club,  Vol.  I.  64  ;  Vol. 

II.  21,  47,  96,  349. 
City  Hall,  Vol.  I.  238,  354,  377, 
382  ;  Vol.  II.  99,  125,  159, 
189,  279,  349. 
Greenwood  Cemetery,   Vol.  I. 

100  ;  Vol.  II.  242. 
Historical  Society,  Vol.  I.  26, 
144,  377  ;  Vol.  II.  1,  134,  159, 
168,  289,  330. 
Law  Library,  Vol.  II.  81. 


Lenox  Library,  Vol.  I.  376  ;  Vol. 

II.  189. 
Lotus  Club,  Vol.  II.  278. 
Metropolitan  Museum,  Vol.  I. 

151,  170  ;  Vol.  II.  312,  349. 
National  Academy,  Vol.  I.  56, 

78,  137,  149,  180,  183,  233, 

238,  266,  286,  309,  321,  327  ; 

Vol.  II.  10,  45,  46,  96,  134, 

145,  153,  343. 
Old  Diisseldorf  Gallery,  Vol.  I. 

337  ;  Vol.  II.  193. 
Palette  Club,  Vol.  II.  309. 
St.  Luke's  Hospital,  Vol.  I.  55, 

377. 

Trinity  Church,  Vol.  I.  365,  371; 

Vol.  II.  230. 
University,  Vol.  I.  377  ;  Vol.  II. 

289. 

Union  League  Club,  Vol.  I.  377  ; 
Vol.  II.  101,  247,  275,  335. 
Nimes. 
Vol.  I.  60. 

NlORT. 

Vol.  I.  76. 

NONNENWERT. 

Church  of,  Vol.  II.  176. 
Nuremberg. 

Madonna  of,  Vol.  I.  5. 
Nymptsch. 

Church  of,  Vol.  I.  49. 

Orleans. 

Museum,  Vol.  I.  20. 

Statue  at,  Vol.  I.  220. 
Orvieto. 

Cathedral,  Vol.  I.  33. 

Osborne. 
Vol.1. 17, 137,  231;  Vol.  II.  169. 

OSNABR/UCK. 

Cathedral,  Vol.  I.  217. 
Oxford. 

Baliol  College,  Vol.  II.  336. 
Bodleian  Library,  Vol.  II.  176. 


INDEX  OF 

Martyrs'  Monument,  Vol.  II.  341. 
New  Museum,  Vol.  II.  139. 
Trinity  College,  Vol.  II.  341. 

Paris. 

Arc  de  Triomphe,  Vol.  L  77,  240  ; 

Vol.  II.  94. 
Avenue  de  FObservatoire,  Vol. 

II.  172. 
Bank  of  France,  Vol.  II.  289. 
Barriere  du  Tr6ne,  Vol.  II.  154, 
Bourse,  the,  Vol.  I.  228. 
Calcographie  (the  Louvre),  Vol. 

I.  114,  268  ;  Vol.  II.  282. 
Cemetery  du  Nord,  Vol.  I.  303. 
Chamber  of  the  Council  of  State, 

Vol.  I.  222. 
Chamber  of  Deputies,  Vol.  I. 

201,  223. 
Chamber  of  Notaries,  Vol.  1. 163. 
Chamber  of  Peers,  Vol.  I.  182. 
Champs  Elysees,  Vol.  I.  201,  228. 
Chapel  of  All  Saints,  Vol.  I.  352. 
Chapel  des  Baptemes  in  l'Eglise 

de  la  Trinite,  Vol.  I.  268. 
Chapel  of  the  Madeleine,  Vol.  I. 

143. 

Chapel  of  St.  Francois  de  Sales, 

Vol.  I.  353. 
Chapel  of  St.  Genevieve,  Vol.  I. 

203. 

Chapel  of  St.  Joseph  at  St.  Sul- 

pice,  Vol.  II.  34. 
Chapel  of  St.  Sulpice,  Vol.  II.  298. 
Chatelet,  Theater  of,  Vol.  I.  134. 
Church  of  Blancs-Manteaux,  Vol. 

I.  301. 

Church  of  the  Madeleine,  Vol.  I. 

77,  163,  228,  241  ;  Vol.  II.  57, 

87,  94,  253,  301. 
Church   of    Notre   Dame  des 

Champs,  Vol.  II.  42. 
Church  of  Notre  Dame  de  Clig- 

nancourt,  Vol.  I.  222. 
Church  of  Notre  Dame  de  Lorette, 

Vol.  I.  203,  228. 


PLACES.  17 

Church  of  Notre  Dame  de  Paris, 

Vol.  I.  343. 
Church  of  the  Sarbonne,  Vol.  II. 

243,  298. 
Church  of  St.  Ambrose,  Vol.  II.  73. 
Church  of  St.  Augustin,  Vol.  I. 

31,  74,  316;  Vol.  II.  18,  51,  59. 
Church  of  St.  Bernard,  Vol.  I. 

184. 

Church  of  St.  Clothilde,  Vol.  I. 

80,  319  ;  Vol.  II.  51,  52. 
Church  of  St.  Denis-du-Saint- 

Sacrement,  Vol.  I.  188,  243  ; 

Vol.  II.  172.  f 
Church  of  St.  Etienne-du-Mont, 

Vol.  I.  220,  258,  292 ;  Vol.  II. 

39. 

Church  of  St.  Eustache,  Vol.  I. 

31,  166,  196. 
Church  of  St.  Genevieve,  Vol.  I. 

271  ;  Vol.  II.  196. 
Church  of  St.  Germain-l'Auxer- 

rois,  Vol.  I.  31,  163,  297  ;  Vol. 

II.  18,  57. 
Church  of  St.  Germain-des-Pres, 

Vol.  I.  31,  158,  257. 
Church  of  St.  Gervais,  Vol.  I. 

297,  343  ;  Vol.  II.  10. 
Church  of  St.  Jean,  Vol.  II.  57. 
Church  of  St.  Joseph,  Vol.  I.  197. 
Church  of  St.  Louis,  Vol.  II.  52. 
Church  of  St.    Louis  d'Antin, 

Vol.  I.  222,  301. 
Church  of  St.  Louis-en-l'Ile,  Vol. 

II.  52. 

Church  of  St.  Marguerite,  Vol.  I. 

258,  302. 
Church  of  St.  Martin  des  Champs, 

Vol.  I.  290. 
Church  of  St.  Merri,  Vol.  I.  187, 

297  ;  Vol.  II.  52,  57. 
Church  of  St.  Nicolas  des  Champs, 

Vol.  I.  143  ;  Vol.  II.  114. 
Church  of  St.  Nicolas  du  Char- 

donnet,  Vol.  I.  201. 


18 


INDEX  OF  PLACES. 


Church  of  St.  Pierre  du  Gros 

Caillou,  Vol.  I.  201. 
Church  of  St.  Protais,  Vol.  1.297. 
Church  of  St.  Severin,  Vol.  I. 

31,  257,  258,  290 ;  Vol.  II.  210, 

211. 

Church  of  St.  Sulpice,  Vol.  I.  217, 

353  ;  Vol.  II.  51,  58. 
Church  of  St.  Thomas  Aquinas, 

Vol.  I.  58,  317. 
Church  of  St.  Vincent  de  Paul, 

Vol.  I.  257  ;  Vol.  II.  181. 
Church  of  the  Trinity,  Vol.  I.  31, 

97,  251  ;  Vol.  II.  41,  47,  65, 

73. 

Column  of  the  Place  Vendome, 

Vol.  I.  37,  223. 
Column  of  July,  Vol.  I.  221. 
Court  of  Cassation,  Vol.  I.  221. 
Nicole  des  Beaux- Arts,  Vol.  I.  223, 

381. 

Elysee,  the,  Vol.  I.  129,  206; 
Vol.  II.  34. 

Exposition,  1878,  Vol.  I.  1,  22, 
23,  24,  25,  28,  33,  39,  42, 
52,  56,  64,  68,  71,  77,  78,  84, 
88,  93,  94,  98,  108,  111,  116, 
117,  124,  127,  137,  142,  148, 
149,  153,  154,  155,  169,  172, 
174,  179,  185,  186,  189,  192, 
197,  209,  219,  222,  233,  234, 
239,  242,  246,  247,  253,  254, 
255,  266,  267,  274,  277,  279, 
280,  287,  288,  290,  294,  298, 
305,  306,  309,  310,  317,  319, 
320,  321,  322,  323,  324,  338, 
345,  347,  348,  350,  358,  362, 
369,  377,  378,  379,  383,  384, 
385  ;  Vol.  II.  7,  12,  13,  14, 16, 
17,  18,  19,  22,  25,  29,  31,  47, 
58,  61,  63,  68,  69,  72,  73,  77, 
79,  84,  85,  87,  89,  92,  93,  100, 
104,  105,  110,  113,  114,  116, 
117,  124,  125,  126,  131,  133, 
138,  141,  142,  148,  150,  165, 


166,  170,  171,  175,  179,  182, 
186,  191,  194,  198,  207,  209, 
212,  214,  221,  222,  232,  234, 
235,  237,  242,  243,  248,  253, 
256,  257,  264,  265,  268,  270, 
271,  272,  275,  276,  278,  279, 
282,  284,  285,  291,  292,  299, 
300,  304,  308,  313,  315,  321, 
328,  333,  334,  335,  336,  337, 
350,  352,  354,  355,  360,  363, 
365,  366,  367,  370. 

Fountain  of  Saint  Michel,  Vol.  I. 
186  ;  Vol.  II.  5. 

Fountain  of  the  Theatre-Fran- 
cais,  Vol.  I.  284. 

Fountain  of  Victory,  Vol.  II.  5. 

Grande  Chancellerie  of  the  Le- 
gion of  Honor,  Vol.  I.  237  ; 
Vol.  II.  312. 

Home  Department  of  the  Council 
of  State,  Vol.  I.  257. 

Hotel  Drouot,  Vol.  II.  118. 

Hotel  des  Invalides,  Vol.  I.  4, 
381  ;  Vol.  II.  255. 

Hotel  Pereire,  Vol.  I.  80 ;  Vol. 
II.  226. 

Hotel  de  Ville,  Vol.  I.  201,  206, 
243,  258,  381  ;  Vol.  II.  34, 
254. 

Louvre  Museum,  Vol.  I.  1,  4,  27, 
31,  38,  39,  70,  77,  163,  182, 
184,  187,  201,  203,  206,  218, 
220,  223,  230,  243,  385  ;  Vol. 
II.  86,  114,  254. 

Louvre,  Palace  of,  Vol.  I.  113, 
143,  218,  228,  319,  376,  381  ; 
Vol.  II.  50,  59,  120,  181,  255. 

Luxembourg  Gallery,  Vol.  I.  2, 
3,  8,  12,  15,  20,  35,  38,  40,  45, 
50,  51,  53,  55,  57,  58,  59,  60, 
62,  65,  66,  70,  72,  74,  79,  90, 
91,  92,  112,  113,  126,  129,  134, 
135,  136,  138,  156,  158,  163, 
166,  170,  177,  179,  184,  187, 
188,  193,  196,  198,  200,  201, 


INDEX  OF  PLACES. 


19 


203,  212,  218,  219,  220,  223, 
226,  230,  237,  241,  247,  252, 
258,  261,  267,  271,  275,  289, 
290,  292,  297,  300,  301,  302, 
306,  316,  318,  319,  328,  329, 
332,  342,  343,  345,  353,  359, 
372,  384,  385  ;  Vol.  II.  4,  7, 
8,  9,  18,  24,  33,  34,  39,  40,  42, 
45,  47,  49,  50,  52,  53,  57,  58, 
59,  60,  64,  65,  73,  86,  87,  91, 
99,  106,  111,  118,  120,  124, 

130,  134,  136,  142,  154,  157, 
163,  167,  170,  172,  178,  185, 
186,  201,  203,  204,  211,  212, 
215,  221,  226,  228,  230,  245, 
246,  248,  253,  255,  280,  288, 
298,  301,  302,  307,  321,  327, 
339,  361,  370. 

Luxembourg  Garden,  Vol.  I.  74, 

140  ;  Vol.  II.  86. 
Luxembourg  Library,  Vol.  II. 

254. 

Luxembourg  Observatory,  Vol.  I. 
119. 

Maison  d'Or,  Vol.  II.  46. 

New  Opera,  Vol.  I.  40,  82,  197, 

281,  284,  317  ;  Vol.  II.  121, 

172,  243. 
Palais  des  Beaux- Arts,  Vol.  I. 

197,  301. 
Palais  des  Chambres,  Vol.  I.  288. 
Palais  des  Corps  Legislatifs,  Vol. 

I.  385. 

Palais  de  Justice,  Vol.  I.  22,  75, 

131,  221,  223,  228  ;  Vol.  II. 
39,  52,  112,  172. 

Palais  Royal,  Vol.  I.  228  ;  Vol. 

II.  317. 

Palais  Trocadero,  Vol.  I.  197. 
Pantheon,  Vol.  I.  359  ;  Vol.  II. 

42,  87,  196. 
Pavilion  de  Rohan,  Vol.  I.  206. 
Pavilion  Turgot,  Vol.  I.  206,  319. 
Pere-la-Chaise,  Vol.  I.  223. 
Place  de  Rivoli,  Vol.  I.  271. 


Salle  des  Seances  of  the  Institute, 

Vol.  I.  223. 
Salon  of  Constantine,  Vol.  II. 

318. 

Tuileries,  Vol.  I.  114,  129,  184, 
187,  196,  197,  376  ;  Vol.  II. 
45,  50,  73,  86. 
Parma. 

Gallery,  Vol.  II.  97. 
Pau. 

Museum,  Vol.  I.  134. 
Pesth. 
Museum,  Vol.  II.  329. 

Philadelphia. 

Academy  of  Fine  Arts,  Vol.  I.  10; 
Vol.  II.  61,  135,  144,  168,  277, 
279,  339. 

Actors'  Home,  near  Philadelphia, 
Vol.  I.  30. 

County  Jail,  Vol.  II.  331. 

Exposition,  Vol.  I.  2,  5,  17,  22, 
24,  28,  29,  30,  32,  36,  39, 
43,  47,  51,  52,  55,  56,  64,  66, 
68,  71,  76,  77,  78,  82,  83,  93, 
94,  95,  98,  100,  101,  102,  107, 
115,  116,  117,  118,  123,  124, 
125,  133,  138,  141,  146,  148, 
149,  151,  152,  156,  158,  167, 
168,  172,  174,  177,  180,  183, 
185,  192,  193,  210,  219,  225, 
226,  227,  231,  232,  238,  240, 
246,  247,  249,  253,  255,  256, 
260,  261,  267,  270,  274,  276, 
278,  280,  283,  287,  289,  290^ 
292,  296,  300,  303,  304,  305, 
308,  309,  312,  314,  317,  321, 
323,  324,  328,  330,  332,  335, 
337,  341,  348,  353,  356,  362, 
370,  372,  373,  377,  378,  385, 
386  ;  Vol.  II.  4,  7,  9,  11,  12, 
13,  14,  16,  17,  18,  21,  22,  26, 
27,  29,  30,  31,  34,  38,  44,  56, 
61,  66,  68,  69,  72,  74,  75,  80, 
86,  87,  91,  93,  96,  100,  102, 


20 


INDEX  OF  PLACES. 


103,  105,  110,  111,  112,  114, 
116,  121,  124,  126,  127,  128, 
129,  130,  132,  134,  139,  140, 
144,  147,  148,  149,  150,  151, 
152,  154,  159,  162,  163,  164, 
167,  169,  171,  173,  175,  178, 
185,  191,  192,  194,  195,  202, 
207,  209,  211,  217,  218,  219, 
222,  223,  225,  230,  234,  236, 
237,  239,  240,  247,  251,  252, 
253,  256,  257,  259,  260,  261, 
263,  264,  265,  268,  269,  275, 
277,  278,  279,  281,  282,  284, 
288,  292,  297,  299,  300,  301, 
303,  304,  305,  306,  307,  309, 
310,  312,  313,  315,  320,  321, 
325,  327,  328,  329,  332,  334, 
335,  336,  341,  342,  343,  345, 
353,  355,  363,  372. 

Fairmount  Park,  Vol.  I.  29. 

Girard  College,  Vol.  II.  331. 

Independence  Hall,  Vol.  I.  29  ; 
Vol.  II.  144,  279. 

Permanent  Fine  Art  Exhibition, 
Vol.  I.  88. 

Union  League  Club,  Vol.  II.  1, 
144. 

PlEDIGROTTA. 
Vol.  II.  8,  9. 

Pisa. 

Monument,  Vol.  II.  312. 

Pietro  Leopoldo  at,  Vol.  II.  163. 

University,  Vol.  I.  199. 
Pistoia. 

Hospital,  Vol.  II.  307. 
Plymouth. 

Pilgrims'  Monument,  Vol.  I.  63. 
Poitiers. 

Hotel  de  Ville,  Vol  II.  196. 

Porte-Maurizio. 

Cathedral,  Vol.  I.  143. 

Portland. 

Exchange,  Vol.  I.  6. 


Prague. 
University  at,  Vol.  II.  324. 

Ratisbon. 

Cathedral,  Vol.  I.  6  ;  Vol.  II. 
244. 

Remagen. 

Churches  at,  Vol.  I.  191,  385  ; 
Vol.  II.  136. 
Rheims. 

Cathedral,  Vol.  II.  87. 

Monument  at,  Vol.  I.  319. 

Richmond,  England. 

Star  and  Garter,  Vol.  I.  36. 
Rome. 

Academy  of  St.  Luke,  Vol.  I.  5. 
Art  Union,  Vol.  I.  102. 
Borghese  Palace,  Vol.  I.  60. 
Campo  Verano,  Vol.  II.  80,  123. 
Casa  Bartholdi,  Vol.  I.  157. 
Church  of  La  Trinita  de'  Monti, 

Vol.  I.  381. 
Church  of  St.  Louis  des  Francais, 

Vol.  I.  223. 
Church  of  St.  Peter's,  Vol.  II. 

281. 

Doria  Palace,  Vol.  II.  123. 
Quirinal,  Vol.  I.  22  ;  Vol.  II.  123. 
Salon  of  the  French  School,  Vol. 
I.  223. 

Torlonia  Palace,  Vol.  I.  117. 
Vatican,  the,  Vol.  II.  122. 
Rouen. 

Church  of  Notre  Dame  de  Bon 

Secours,  Vol.  II.  45. 
Museum,  Vol.  I.  129  ;  Vol.  II. 

132,  254. 

Salem. 

Normal  School,  Vol.  II.  367. 

Salisbury,  U.  S.  A. 
Coffing  Memorial  Vase,  Vol.  I. 
37. 


INDEX  OF  PLACES. 


21 


Savannah. 

Convent  of  the  Sacred  Heart,  Vol. 

I.  212. 
Savona. 

Basilica  of,  Vol.  I.  143. 

Hospital  of,  Vol.  I.  33. 
Sebastopol. 

Monument  at,  Vol.  I.  303. 
Sens. 

Cathedral,  Vol.  II.  87. 
Siena. 

Campo  Santo,  Vol.  II.  235. 
Cathedral,  Vol.  I.  33  ;  Vol.  II. 

140,  235. 
Church  of  the  Servites,  Vol.  I. 

57. 

Fonte  Gaia,  Vol.  II.  235. 
Palazzo  Publico,  Vol.  I.  124. 
Silesia. 

Church  at,  Vol.  II.  198. 

SOLESMES. 

Church  at,  Vol.  I.  196. 
Spoleto. 

Cathedral,  Vol.  II.  89. 
Stagheno. 

Cemetery  of,  Vol.  II.  214. 
Staglieno. 

Monuments  at,  Vol.  II.  312. 
St.  Louis,  Mo. 

Custom  House,  Vol.  I.  271. 

Forest  Park,  Vol.  II.  81. 

Public  Library,  Vol.  I.  366. 
St.  Malo. 

Statue  at,  Vol.  II.  121. 
Stockholm. 

Museum,  Vol.  I.  57,  359  ;  Vol. 

II.  197. 
St.  Omer. 

Museum,  Vol.  I.  223. 
St.  Petersburg. 
Hermitage,  Vol.  I.  26,  27  ;  Vol. 
II.  145. 

St.  Isaac's  Church,  Vol.  II.  241. 


Winter  Palace,  Vol.  I.  27  ;  Vol. 
II.  283. 
St.  Quentin. 

Churches  at,  Vol.  II.  41. 
Strasbourg. 

Cathedral,  Vol.  II.  271. 

Museum,  Vol.  I.  237. 
Stuttgart. 

Gallery,  Vol.  I.  251. 

SWANTON. 

Statue  at,  Vol.  II.  174. 
Tenby. 

Statue  of  Prince  Consort  at,  Vol. 
II.  288. 
Tergernsee. 

Castle  of,  Vol.  II.  225. 
Toulouse. 

Hotel  of,  Vol.  II.  289. 
Museum,  Vol.  I.  384;  Vol.  II. 
42. 

TOURNAY. 

Cathedral,  Vol.  I.  279. 
Tours. 

Museum,  Vol.  II.  47. 
Trieste. 

Church  of  Saint- Antoine,  Vol.  I. 
315. 
Troyes. 

Monastery  of  Visitation  at,  Vol. 
II.  10. 

Museum,  Vol.  II.  10,  254,  255. 
Turin. 

Monument  to  Cavour,  Vol.  I.  225. 
Eoyal  Chapel,  Vol.  I.  267. 
Royal  Gallery,  Vol.  I.  273. 
Royal  Palace,  Vol.  I.  22,  27,  338 ; 
Vol.  II.  312. 
Twickenham. 

Orleans  House,  Vol.  I.  381. 

Valence. 
Museum,  Vol.  II.  47. 


INDEX  OF  PLACES. 


VendSme. 

Museum,  Vol.  I.  134. 
Vendreuve. 

Chateau  of,  Vol.  II.  254. 
Versailles. 

,  Gallery,  Vol.  I.  3,  16,  22,  31,  45, 
50,  51,  65,  138,  143,  163,  182, 
187,  203,  223,  228,  241,  250, 
279,  281,  297,  299,  318,  343, 
384,  385 ;  Vol.  II.  4,  33,  39, 
101,  114,  178,  181,  186,  215, 
221,  253,  254,  276,  318,  332. 

Vienna. 
Arsenal  at,  Vol.  I.  303  ;  Vol.  II. 
184. 

Belvedere  Gallery,  Vol.  I.  65  ; 

Vol.  II.  87. 
Belvedere  Palace,  Vol.  I.  267. 
Cathedral  of,  Vol.  I.  64. 
Exposition,  1873,  Vol.  I.  22,  33, 

39,  234,  317,  348,  376;  Vol. 

II.  2,  19,  58,  125,  165,  177, 

207,  328,  336. 
Museum,  Vol.  I.  64,  117,  315, 

379  ;  Vol.  II.  124. 

Warsaw. 

Cathedral,  Vol.  I.  303. 
Washington. 
Capitol  at,  Vol.  I.  100,  131,  171, 
249,  314,  341,  376  ;  Vol.  II. 
64,  106,  122,  128,  189,  202, 
218,  255,  331,  334,  339,  342. 
Congressional  Library,  Vol.  II. 
331. 

Corcoran  Gallery,  Vol.  I.  17,  28, 
38,  78,  89,  92,  112,  119,  135, 
137,  150,  200,  202,  238,  249, 


272,  290,  330,  355  ;  Vol.  II. 

9,  18,  47,  59,  60,  136,  168,  188, 

189,  194,  231,  238,  245,  314, 

339,  371. 
National  Museum  of  Education, 

Vol.  II.  267. 
Old  House  of  Representatives, 

Vol.  II.  190. 
Patent  Office,  Vol.  II.  331. 
Post-Office,  Vol.  II.  331. 
Soldiers'  Home,  Vol.  II.  367. 
Treasury  Building,  Vol.  II.  331. 
War  Department,  Vol.  II.  191. 
Waterloo. 

Church  at,  Vol.  1.  288. 
Watertown. 

Keep  Monument  at,  Vol.  II.  327. 
Weimar. 
Castle,  Vol.  II.  296,  358. 
Wieland  Hall  at,  Vol.  II.  193. 

Wellbergen  in  Westphalia. 
Church  at,  Vol.  II.  176. 

West  Point. 

Military  Academy,  Vol.  II.  279, 
348. 

Windsor. 

Castle  at,  Vol.  I.  17,  71,  98  ;  Vol. 
II.  184,  247,  287. 

WURTZBURG. 

Kunstverein,  Vol.  I.  288. 

York. 
Minster,  Vol.  II.  260. 

Ypres. 

Halls  at,  Vol.  I.  316  ;  Vol.  II. 
167. 


GENERAL  INDEX. 


Abbott,  J.  G.,  Vol.  I.  123. 
Adams,  Abram,  Vol.  II.  264. 
Adams,  Alvin,  Vol.  II.  113. 
Adams,  Mrs.  Alvin,  Vol.  I.  102; 

Vol.  II.  10. 
Adams,  Mr.,  Vol.  II.  32. 
Adams,  Fletcher,  Vol.  II.  297. 
Adams,  McGregor,  Vol.  II.  103. 
Agnew,  Messrs.,  Vol.  II.  17. 
Aignette,  M.,  Vol.  II.  365. 
Aiken,  A.,  Vol.  II.  208. 
Akers,  Paul,  Vol.  I.  102. 
Albert  sale,  Vol.  I.  189. 
Alden,  A.  C,  Vol.  II.  342. 
Alford,  Lady  Marian,  Vol.  II.  95. 
Amberly,  Lord,  Vol.  II.  297. 
American  Art  Union,  Vol.  I.  83. 
Ames,  Mrs.  Charles,  Vol.  II.  218. 
Ames,  Mrs.  Oakes,  Vol.  II.  139. 
Ames,  Mrs.  Oliver,  Vol.  II.  139. 
Ames,  Oliver,  Vol.  II.  10. 
Amherst  College,  Vol.  II.  164,  349. 
Andre,  M.,  Vol.  I.  263. 
Andre,  Mme.  Ernest,  Vol.  I.  204. 
Andrew,  Mrs.  John  A.,  Vol.  I.  306. 
Andrews,  W.  L.,  Vol.  II.  267. 
Angell,  Dr.  H.  C,  Vol.  I.  230; 

Vol.  II.  218. 
Anthony,  S.  J.,  Vol.  I.  231. 
Appleton,  Samuel,  Vol.  I.  366. 
Appleton,  T.  G.,  collection  of,  Vol. 

I.  56,  94,  102,  103,  190,  254, 

286,  324  ;  Vol.  II.  100,  122,  157, 

341. 


Appleton,  W.  S.,  Vol.  II.  255. 
Archer  and  Pancoast,  Vol.  II.  335. 
Armadale,  Vol.  II.  289. 
Arnim,  Baron  Von,  Vol.  II.  270. 
Arrowsmith,  Dr.,  Vol.  II.  1. 
Arthaber  sale,  Vienna,  Vol.  I.  284. 
Artists'  Fund  Society,  New  York, 

Vol.  I.  56,  66. 
Ashburton,  Lady,  Vol.  I.  140,  146 ; 

Vol.  II.  297. 
Ashmun,  Hon.  George,  Vol.  I.  330. 
Astor,  John  Jacob,  Vol.  I.  294, 

384  ;  Vol.  II.  261,  315. 
Astor,  William,  Vol.  I.  347. 
Attwood,  Mrs.,  Vol.  II.  214. 
Aube,  Vol.  I.  86. 
Austin,  G.  W.,  Vol.  I.  43. 
Austria,  Emperor  of,  Vol.  II.  29. 
Avery,  S.  P.,  Vol.  I.  46,  80,  108. 
Avery  sale,  Vol.  I.  370. 

Baccelli,  Prof.,  Vol.  II.  123. 
Bacon,  Henry  C,  Vol.  II.  250. 
Bailey,  N.  T.,  Vol.  II.  44,  248. 
Baird,  Matthew,  Vol.  I.  307  ;  Vol. 

II.  129,  225. 
Balmoral  Castle,  statue  at,  Vol.  II. 

287. 

Baker,  C,  Vol.  II.  175. 

Baker,  W.  S.  G.,  Vol.  II.  214,  258. 

Baldwin,  Mr.,  Vol.  I.  66. 

Baliol  College,  Oxford,  Vol.  II.  336. 

Ball,  Elias,  Vol.  II.  348. 

Bank  of  France,  Paris,  Vol.  II.  289. 


24 


GENERAL  INDEX. 


Barbee,  W.  R.,  Vol.  I.  33. 
Baring,  Mr.  M.  P.,  Vol.  II.  199. 
Barlow,  H.  N.,  Vol.  I.  102. 
Barnes,  Demas,  Vol.  I.  306. 
Bartol,  Miss,  Vol.  II.  153. 
Bartolony,  M.,  Vol.  I.  80. 
Barye,  anecdote  of,  Vol.  I.  38. 
Batchelder,  S.,  Vol.  I.  330. 
Bates,  Martin,  Vol.  II.  250. 
Baudry,  Paul,  Vol.  I.  282. 
Baxter,  Charles,  Vol.  II.  163. 
Beckwith,  Dr.  D.  H.,  Vol.  II.  345. 
Beecher,  Rev.  H.  W.,  Vol.  I.  102, 

382  ;  Vol.  II.  1. 
Bell,  Jacob,  Vol.  II.  155. 
Bellini,  sole  portrait  of,  Vol.  I.  22. 
Bellini,  tomb  of,  Vol.  II.  94. 
Belmont  Gallery,  Vol.  I.  61,  78, 

192,  296  ;  Vol.  II.  111. 
Belmont  sale,  Vol.  I.  73. 
Bement,  William,  Vol.  I.  356. 
Benedict,  Judge,  Vol.  I.  370. 
Benevieni,  Jerome,  famous  bust  of, 

Vol.  L  39. 
Bennett,  J.  G.,  Vol.  I.  94,  210. 
Bennett,  James  Gordon,  Jr.,  Vol.  I. 

192. 

Bergholz,  Mrs.,  Vol.  II.  103. 
Berry,  Duke  of,  Vol.  II.  316. 
Best,  W.  J.,  Vol.  II.  254. 
Bigelow,  Horatio,  Vol.  I.  149. 
Bird,  Mrs.  Edward  O.,  Vol.  I.  143, 
192. 

Blacas,  M.  de,  Vol.  II.  317. 
Blackie,  Dr.,  Vol.  II.  331. 
Blair,  D.  C,  Vol.  I.  369. 
Bliss,  George,  Vol.  II.  290. 
Blodgett,  D.  C,  Vol.  II.  214. 
Blodgett  sale,  New  York,  Vol.  I. 

3,  73,  96,  137  ;  Vol.  II.  209. 
Blodgett,  W.  T.,  Vol.  I.  183,  266, 

325  ;  Vol.  II.  247. 
Bloodgood,  John,  Vol.  II.  144. 
Blossom,  Charles,  Vol.  II.  281. 
Blossom,  James  B.,  Vol.  II.  281. 


Bolton,  Colonel,  Vol.  I.  172. 
Bonheur,  Raymond,  Vol.  I.  72. 
Bonheur,  Rosa,  school  founded  by, 

Vol.  I.  72,  74. 
Bonnat,  Vol.  II.  56. 
Bonnel,  M.,  Vol.  II.  29. 
Booth,  Edwin,  Vol.  I.  173,  294, 

345. 

Booth,  Miss  Mary  L.,  Vol.  II.  174. 

Borghese,  Prince  P.,  Vol.  I.  240. 

Bosio,  Baron,  Vol.  I.  77. 

Boston  Central  Club,  Vol.  I.  292. 

Boston  Shoe  and  Leather  Associa- 
tion, Vol.  I.  248,  249. 

Boston  Somerset  Club,  Vol.  I.  146  ; 
Vol.  II.  262. 

Boston  Union  Club,  Vol.  I.  146. 

Boucicaut,  M.,  Vol.  I.  80. 

Bouilly-Mensdorf,  Count  of,  Vol. 
II.  244. 

Bowdoin  College  Chapel,  Vol.  II. 
40. 

Bowring,  Sir  John,  Vol.  I.  238. 
Brackett,  G.  C,  Vol.  II.  286. 
Brackett,  S.  L.,  Vol.  II.  220. 
Bradford,  W.  H.,  Vol.  I.  369. 
Bradley,  J.  H.,  Vol.  I.  88. 
Brady,  J.  R.,  Vol.  II.  248. 
Brassey,  Thomas  M.  P.,  Vol.  1. 152. 
Breadalbane,  Duke  of,  Vol.  II.  117. 
Brewer,  Gardner,  Vol.  II.  281. 
Breysse,  M.,  Vol.  I.  158. 
Brimmer,   Martin,   Vol.   I.  103  ; 

Vol.  II.  119,  297,  313. 
Bristol,  Lord,  Vol.  I.  117. 
Brookfield,  William,  Vol.  II.  292. 
Brooks,  Noah,  Vol.  I.  296. 
Brooks,  Peter  S.,  Vol.  I.  146. 
Brown,  J.  G.,  Vol.  I.  192. 
Brown,  Walter,  Vol.  I.  295. 
Brown,  W.  E.  (Cal.),  Vol.  I.  56. 
Browning,  Mrs.  E.  B.,  Vol.  II.  190. 
Browning,  Mr.,  London,  Vol.  I 

367. 

Brownlow,  Earl,  Vol.  II.  95. 


GENERAL  INDEX. 


25 


Brunswick,  Duke  of,  monument  to, 

Vol.  II.  314. 
Brussels  sale,  Vol.  II.  273,  323. 
Bryant,  William  C,  Vol.  II.  289. 
Buchanan,  Rev.  E.  S.,  Vol  I.  100. 
Buckingham,  Duke  of,  Vol.  II.  264. 
Bull,  Ole,  Vol.  II.  341. 
Bullard,  Mrs.  J.,  Vol.  II.  11. 
Bullard,  Mrs.  Laura  Curtis,  Vol.  II. 

66,  287,  313. 
Bunce,  Miss,  Vol.  II.  174. 
Bunce,  Oliver  B.,  Vol.  I.  369. 
Burdett-Coutts,  Baroness,  Vol.  I.  2, 

87,  98,  345  ;  Vol.  II.  133. 
Burdick,  Dr.,  Vol.  I.  64. 
Burt,  J.  M.,  Vol.  II.  288. 
Bute,  Marquis  of,  Vol.  II.  66. 
Butler,  Cyrus,  Vol.  I.  97  ;  Vol.  II. 

104,  163,  254. 
Butler,  Richard,  Vol.  I.  Ill,  294, 

325. 

Butler,  Theron  R.,  collection  of, 
Vol.  I.  20,  42,  80,  96,  143,  240, 
290,  328,  338,  354,  370  ;  Vol.  II. 
11,  25,  26,  113,  149,  160,  185, 
194,  217,  328. 

Butterfield,  William,  Vol.  II.  251. 

Caird,  James,  Vol.  II.  281. 
Caius  College,  Cambridge,  Vol.  II. 
336. 

Caldwell,  W.  A.,  Vol.  II.  128. 
Camp,  W.  A.,  Vol.  I.  128. 
Careno,  Mme.  Teresa,  Vol.  II.  139. 
Carey,  Alice,  Vol.  I.  64. 
Carey,  H.  C,  Vol.  II.  168. 
Casilear,  J.  W.,  Vol.  II.  248. 
Cassin,  Mme.  de,  Vol.  I.  264. 
Castellani,  Count,  Vol.  II.  240. 
Castle  of  Prince  Albert  of  Prussia, 

Vol.  II.  242. 
Century  Club,  New  York,  Vol.  I. 

64  ;  Vol.  II.  21,  47,  96,  349. 
Cercle  Artistique,  Vol.  II.  145,  196. 
Champfleury,  M.,  Vol.  II.  50. 


Champier,  Victor,  Vol.  I.  237. 
Chandler,  John  W.,  Vol.  II.  348. 
Chandos,  Marquis  of,  Vol.  II.  264. 
Chantrey  Bequest,  Vol.  II.  54. 
Chaplet,  M.,  Vol.  I.  85. 
Charles  X.,  Vol.  II.  317. 
Charles  X.,  Museum  of,  Vol.  II. 
318. 

Charles  Albert,  Vol.  I.  273. 
Charles  Theodore,  Duke  of  Bavaria, 

Vol.  II.  225. 
Chasrel,  T.,  Vol.  I.  104. 
Chateau  of  Blois,  Vol.  II.  7. 
Chateau  of  Compiegne,  Vol.  I.  217. 
Chateau  of  Heltorf,  Vol.  II.  135. 
Chateau  of  Meudon,  Vol.  II.  50. 
Chateau  of  Neuilly,  Vol.  I.  256. 
Chateau  of  Schonbrunn,  Vol.  II.  32. 
Chateau  Reineck,  Vol.  II.  271. 
Cheney,  Dwight,  Vol.  I.  128. 
Cheney,  John,  Vol.  I.  306. 
Chesneau,  Vol.  I.  188. 
Chew,  Samuel,  Vol.  I.  347. 
Chickering,  George,  Vol.  I.  356. 
Childs,  G.  W.,  Vol.  II.  359. 
Christie's  sales,  Vol.  I.  236,  275  ; 

Vol.  II.  24,  68,  111. 
Church  of  Notre  Dame  de  Bon  Se- 

cours,  near  Rouen,  Vol.  II.  45. 
Church  of  St.  Nicolas  at  Hamburg, 

Vol.  II.  250. 
Cisco,  John  J.,  Vol.  II.  11,  75. 
Civil  List,  Vol.  I.  256,  297  ;  Vol. 

II.  4. 

Claflin ,  William,  collection  of,  Vol. 

I.  63,  102,  130,  373;  Vol.  II.  262. 
Claghorn  Collection,  Philadelphia, 

Vol.  I.  63  ;  Vol.  II.  168,  225. 
Claghorn,  J.  Raymond,  Vol.  II.  81. 
Clark,  Edward,  Vol.  I.  66. 
Clark,  J.  H.,  Vol.  II.  345. 
Clark,  Miss  Jane,  Vol.  I.  231. 
Clark,  Mr.,  New  York,  Vol.  I.  292. 
Clark,  Rev.  E.  L.,  New  York,  Vol. 

II.  341. 


26 


GENERAL  INDEX. 


Clarke,  H.,  Vol.  II.  1. 
Clarke,  Mr. ,  of  New  York,  Vol.  II.  2. 
Clarke,  William  J.,  Vol.  I.  171. 
Clarke,  William  J.,  Jr.,  Vol.  II. 
217. 

Claymont,  Lady,  Vol.  I.  102. 
Clement,  Dr.  G.  C,  Vol.  II.  176. 
Clement,  J.  H.,  Vol.  I.  52. 
Cleophas,  Mr.,  Vol.  I.  158. 
Cleveland,  Duke  of,  Vol.  II.  189. 
Clift,  S.,  Vol.  II.  280. 
Coale,  G.  B.,  Vol.  II.  102. 
Cochran,  Dr.  D.  G.,  Vol.  II.  72. 
Cochrane,  Alexander,  Vol.  II.  153. 
Colgate,  Mr.,  Vol.  I.  340  ;  Vol.  II. 
198. 

Colman,  Samuel,  Vol.  II.  236. 
Colonne  de  Juillet,  Paris,  Vol.  1. 223. 
Colt,  Colonel,  monument  to,  Vol. 

II.  218. 
Colt,  Mrs.,  Vol.  I.  137. 
Colton,  D.  D.,  Vol.  I.  111. 
Colyer,  Vincent,  Vol.  I.  144. 
Conder,  F.  R.,  Vol.  II.  229. 
Confederate  States,  Seal  of,  Vol.  I. 

259. 

Congressional  Library  at  Washing- 
ton, Vol.  II.  331. 

Constantine,  Salon  of,  Paris,  Vol. 
II.  318. 

Convent  of  the  Sacred  Heart,  Savan- 
nah, Vol.  I.  212. 

Cook,  Edward,  Vol.  II.  153. 

Cook,  Mr.,  New  York,  Vol.  I.  325. 

Cooke,  Jay,  Vol.  I.  92  ;  Vol.  II. 
264,  310. 

Cooper,  A.  R.,  Vol.  I.  56. 

Cooper,  H.  P.,  Vol.  I.  64,  192; 
Vol.  II.  164,  254,  288. 

Corcoran  Gallery,  Washington,  Vol. 
I.  17,  28,  38,  78,  89,  92,  112, 119, 
135,  137,  150,  200,  202,  238,  249, 
272,  290,  330,  355;  Vol.  II.  9,  18, 
47,  59,  60,  136,  168,  188,  189, 
194,  231,  238,  245,  314,  339,  371. 


Corkhill,  Colonel,  Vol.  I.  248. 
Cottier  k  Co.,  New  York,  Vol.  I. 
288. 

Cottier  sale,  Vol.  II.  40,  89,  93, 
100. 

Cottrell  sale,  London,  Vol.  II.  188. 

Cowles,  Edwin,  Vol.  I.  242. 

Cozzens,  A.  M.,  Vol.  I.  144  ;  Vol. 
II.  21,  350. 

Cracroft,  Bernard,  Vol.  I.  375. 

Cradle  presented  to  the  Prince  Im- 
perial, Vol.  I.  31. 

Creswick,  T.  R.,  R.  A.,  Vol.  I.  18  ; 
Vol.  II.  132. 

Crocker,  Charles,  Vol.  I.  356. 

Crocker  Gallery,  Vol.  I.  111. 

Crocker,  T.  D.,  Vol.  I.  242. 

Crosby,  W.  H.,  Vol.  I.  61. 

Cruikshank  Collection,  Vol.  II.  216. 

Cutting,  Francis,  Vol.  II.  144. 

Dahlgreen,  the  banker  (Gothen- 
burg), Vol.  I.  224. 

Dalhousie,  Earl  of,  Vol.  I.  234. 

Daly,  Judge,  Vol.  I.  111. 

Dalzell,  John,  Vol.  II.  43. 

D'Aubigny,  Mr.  (New  York),  Vol. 
II.  11. 

Davis,  James,  Vol.  I.  159. 
Davis,  Morris,  Vol.  I.  277. 
Davis,  William  H.,  Vol.  II.  291. 
Day,  Dr.,  Vol.  I.  55. 
Day,  F.  O.,  Vol.  II.  149. 
De  Forest,  Henry  G.,  Vol.  II.  105, 
162. 

Delano,  Edward,  Vol.  I.  296. 
Delaplanche,  Vol.  I.  86. 
Delessert  sale,  Vol.  I.  197. 
Demidoff  Collection,  Vol.  II.  107, 
109. 

Demidoff,  Prince,  Vol.  I.  37,  80. 
Demidoff'  sale,  Vol.  I.  90  ;  Vol.  II 

189,  226. 
De  Mount,  Mrs.,  Vol.  I.  67. 
Denny,'  John  F.,  Vol.  I.  325. 


GENERAL  INDEX. 


27 


Denon,  M.,  Vol.  I.  37. 
Derby,  H.  W.,  Vol.  II.  115,  343. 
De  Tretaigne  sale,  Vol.  I.  113. 
Devonshire,  Duchess  of,  Vol.  I.  5. 
Devonshire,  Duke  of,  Vol.  I.  37  ; 

Vol.  II.  345. 
De  Wolf,  Mr.,  Vol.  I.  128. 
Dickens,  Charles,  collection  of,  Vol. 

II.  268. 
Dinsmore,  Mr.,  Vol.  II.  264. 
Diorama  Montesquieu,  Vol.  I.  371. 
Ditson,  Oliver,  Vol.  II.  10. 
Divatlap,  Vol.  I.  33. 
Dix,  Morgan,  Vol.  I.  168. 
Dix,  Mrs.,  Boston,  Vol.  II.  325. 
Dodge,  William  E.,  Vol.  I.  382  ; 

Vol.  II.  248. 
Dodge,  William  E.,  Jr.,  Vol.  II. 

248. 

Dolan,  Thomas,  Vol.  II.  225. 
Dole,  J.  H.,  Vol.  II.  251. 
.  Donelly,  Edward  G.,  Vol.  II.  102. 
Donizetti,  tomb  of,  Vol.  II.  314. 
Dorman,  E.  E.,  Vol.  II.  173. 
Dorr,  Charles  H.,  Vol.  I.  286. 
Douglas,  James,  Vol.  II.  219. 
Douglas  Monument,  Vol.  II.  327. 
Douglas,  William  P.,  Vol.  II.  261. 
Draper,  Dr.  W.  H.,  Vol.  I.  369. 
Drasche,  Princess,  Vol.  II.  27. 
Drexel,  A.  J.,  Vol.  II.  25. 
Drexel,  James  W.,  Vol.  II.  345. 
Drexel,  Mr.,  Vol.  II.  129. 
Dreyfus  Collection,  Vol.  II.  177. 
Dudley,  Earl,  Vol.  II.  189. 
Dudley  Gallery,  London,  Vol.  I. 

169,  246,  247  ;  Vol.  II.  17,  321. 
Duff,  John,  Vol.  I.  32,  373. 
Dufferin,  Earl,  Vol.  I.  84  ;  Vol.  II. 

14,  359. 
Duke  d'Aumale,  Vol.  I.  195. 
Duke  de  Morny,  Vol.  II.  370. 
Duke  of  Bavaria,  Vol.  II.  225. 
Duke  of  Cleveland,  Vol.  II.  189 
Duke  of  Edinburgh,  Vol.  I.  95. 


Duke  of  Marlborough,  Vol.  I.  153. 
Duke  of  Orleans,  Vol.  I.  158,  194. 
Dumas  (fils),  A.,  Vol.  I.  135. 
Dun,  K.  G.,  Vol.  I.  1  ;  Vol.  II.  254. 
Duncan,  J.,  Vol.  I.  152. 
Dunrayen,  Earl  of,  Vol.  I.  61. 
Duran,  Carolus,  Vol.  II.  192. 
Durfee,  B.  M.  C,  Vol.  I.  52. 
Durfee,  Mr.,  Fall  Kiver,  Vol.  II.  20. 
Dutcher,  Mr.,  Vol.  II.  131. 
Dwight,  George,  Jr.,  Vol.  II.  252. 

Eagleswood  Art  Pottery,  Vol.  II. 
266. 

Eden  sale,  Vol.  I.  331. 
Edinburgh  Free  Presbytery,  Vol.  I. 
355. 

Edwards,  Anthony  &  Co.,  Vol.  II » 
349. 

Eggers,  M.,  Vol.  II.  29. 

Egypt,  Khedive  of,  Vol..  I.  208  ; 

Vol.  II.  308. 
Elementary  Perspective,   Vol.  II. 

293. 

Elliot,  Colonel,  Vol.  II.  156. 
Elliott,  C.  L.,  Vol.  I.  321. 
Elliott,  L.  A.,  Vol.  I.  123. 
Ellesmere,  Earl  of,  Vol.  I.  246,  296, 
301. 

Elting,  Eobert,  Vol.  I.  248. 
Elton,  Mrs.  John  P.,  Vol.  II.  11. 
Emperor  Napoleon  III.,  Vol.  I.  153, 

158,  208  ;  Vol.  II.  10,  107,  195, 

242,  314. 
Emperor  of  Austria,  Vol.  II.  29, 184. 
Emperor  of  Brazil,  Vol.  T.  208. 
Emperor  of  Germany,  Vol.  I.  117, 

254  ;  Vol.  II.  119,  182,  270. 
Emperor  of  Russia,  Vol.  I.  222; 

Vol.  II.  187. 
Empress  Eugenie,  Vol.  I.  73,  329, 

342 ;  Vol.  II.  352. 
Empress  of  Russia,  Vol.  I.  217. 
Empress  of  Russia,  portrait  of,  by 

Vernet,  Vol.  II.  316. 


28 


GENERAL  INDEX. 


Erhardt,  Col.  Joel  B.,  Vol.  II.  248. 
Erskine,  John,  Vol.  I.  358  ;  Vol. 
II.  190. 

Essex  County  Bar,  Vol.  I.  373. 
Evarts,  William  M.,  Vol.  I.  369. 
Everett,  Edward,  Vol.  I.  314. 
Everett,  Mrs.  E.  B.,  Vol.  II.  367. 
Eyries,  M.  Gustave,  Vol.  II.  254. 

Fairbanks,  Governor,  of  Vermont, 
Vol.  I.  102,  325  ;  Vol.  II.  131. 

Fairchild,  Mrs.  Charles,  Vol.  II. 
265. 

Falconer,  J.  M.,  Vol.  I.  144,  309  ; 

Vol.  II.  134. 
Falshaw,  Sir  James,  Vol.  I.  234. 
Farnham,  Dr.  H.  P.,  Vol.  II.  150, 

286. 

Farragut,  Loyall,  Vol.  II.  248. 
Farrobo,  Count  of,  Vol.  I.  260. 
Farwell,   Hon.  Charles,  Vol.  II. 
164. 

Faulkner,  F.  A.,  Vol.  II.  287. 
Faull,  John  A.,  Vol.  I.  357. 
Faure  sale,  Vol.  II.  118. 
Fawsett,  Godfrey,  Vol.  II.  44. 
Fay,  R.  S.,  Vol.  II.  169. 
Fenno,  Isaac,  Vol.  I.  306. 
Ferdinand  I.,  Vol.  I.  267. 
Ferdinand  II.,  Vol.  II.  89. 
Fernandina,  Conde  de,  Vol.  I.  143. 
Ferrin  (Ms),  E.,  Vol.  I.  271. 
Field,  Benjamin  H.,  Vol.  I.  227. 
Field,  David  Dudley,  Vol.  II.  250. 
Fields,  James  T.,  Vol.  II.  227. 
Fields,  Osgood  &  Co.,  Vol.  I.  19. 
Fish,  Hamilton,  Vol.  I.  170  ;  Vol. 

II.  161. 
Fitzgerald,  Mr.,  Vol.  I.  92. 
Fitzwilliam  Museum,  Cambridge, 

Eng.,  Vol.  I.  36. 
Flagg,  Augustus,  Vol.  I.  103. 
Flagg,  Thomas  J.,  Vol.  II.  218. 
Flower,  Mrs.  P.,  Vol.  II. 
Fodor,  M.,  Vol.  I.  77. 


Forbes,  James  Staats,  Vol.  II.  282. 
Forbes  sale,  Vol.  I.  91,  385  ;  Vol. 
II.  24. 

Force,  John  C,  Vol.  II.  145,  281. 
Foster,  Birket,  Vol.  II.  13. 
Foster,  C.  O.,  Vol.  II.  250. 
Foster,  John,  Vol.  II.  218. 
Fould,  M.,  Vol.  II.  67. 
Fould  sale,  Paris,  Vol.  I.  195. 
French,  Hon.  E.  B.,  Vol.  I.  249. 
French,  S.  L.,  Vol.  II.  10. 
Frith,  W.  P.,  R.  A.,  Vol.  II.  178. 
Frodsham,  Mrs.,  Vol.  II.  103. 
Frothingham,  A.  R.,  Vol.  II.  351. 

Gallery  of  Bruges,  Vol.  I.  208. 
Gallery  of  Capo  di  Monte,  Vol.  II. 
131. 

Gallery  of  Grenoble,  Vol.  I.  341. 

Gallery  of  Modern  Paintings,  Flor- 
ence, Vol.  I.  124  ;  Vol.  II.  140, 
186,  308. 

Gallery  of  the  Trianon,  Vol.  I.  188. 

Gallery  Vernet,  at  Avignon,  Vol.  II. 
318. 

Gandy,  Shepherd,  Vol.  I.  78  ;  Vol. 
II.  21. 

Garner,  W.  T.,  Vol.  II.  254. 
Garrett,  J.  W.,  Vol.  I.  346. 
Garrick  Club,  London,  Vol.  I.  140. 
Gavet,  M.,  Vol.  II.  118. 
George  IV.,  Vol.  II.  137. 
Gerrard,  Mrs.  William  H.,  Vol.  II. 
11. 

Gibbs,  Maj.  Theodore,  Vol.  I.  173, 
192. 

Gibson,  Mr.,  Vol.  II.  240. 
Gibson,  Mrs.,  Vol.  II.  290. 
Gillott  sale,  Vol.  I.  241,  272. 
Gilsey,  Mr.  Henry,  Vol.  II.  153. 
Girard  College,  Vol.  II.  331. 
Girard,  M.,  hotel  of,  Vol.  I.  237. 
Gladstone,  Mr.,  Vol.  I.  293;  Vol 
II.  139. 

Gladstone,  statue  of,  Vol,  I.  4. 


GENERAL  INDEX. 


29 


Glasgow  Fine  Art  Loan  Exhibition, 

Vol.  I.  25,  135  ;  Vol.  II.  55. 
Goddard,  William,  Vol.  I.  294. 
Godwin,  Edward  W.,  Vol.  II.  272. 
Godwin,  Parke,  Vol.  II.  102,  331. 
Goldthwaite,  Joel,  Vol.  I.  271. 
Goodrich,  F.,  Vol.  I.  255. 
Gordon,  Robert,  Vol.  I.  101,  247, 

248,  294,  295  ;  Vol.  II.  86,  104, 

117,  335. 
Gorfounkel,  M.,  Vol.  I.  75. 
Goupil,  Vol.  I.  264,  302. 
Government  buildings  at  Constance, 

Vol.  II.  329. 
Gradinger,  Mme.  de,  Vol.  II.  73. 
Graham,  J.  L.,  Jr.,  Vol.  I.  56. 
Grand  Duchess  Maria  of  Russia, 

Vol.  I.  82,  106. 
Grand  Duke  of  Carlsruhe,  Vol.  I. 

251. 

Grand  Duke  Wladimir  Aleksandro- 

witsch,  Vol.  I.  222. 
Grant,  Mr.,  of  Foxburg,  Pa.,  Vol. 

II.  345. 
Graves,  Robert,  Vol.  II.  127. 
Gray,  Bryce,  Vol.  II.  164. 
Gray,  David,  Vol.  II.  249. 
Gray,  John  A.  C.,  Vol.  I.  340. 
Green,  Mrs.  John  C.,  Vol.  II.  297. 
Green,  W.  S.,  Vol.  I.  146. 
Greene,  Copley,  Vol.  II.  102. 
Greene,  Gen.  Colton,  Vol.  I.  321. 
Gregory,  Charles  E.,  Vol.  I.  347. 
Groesbeck,  William  S.,  Vol.  II.  282. 
Grosbeck,  David,  Vol.  II.  278. 
Grosvenor  Gallery,  Vol.  I.  169,  326; 

Vol.  II.  17,  125,  147,  269,  337. 
Gsell  sale,  Vol.  I.  166. 
Guichard,  M.  J.,  Vol.  I.  57. 
Guiffrey,  Vol.  II.  4. 

Haddock,  D.,  Jr.,  Vol.  II.  359. 
Haden,  Seymour,  Vol.  II.  50. 
Hall,  Alvah,  Vol.  II.  14. 
Hamilton,  W.  H.,  Vol.  II.  260 


Hamlin,  Mr.,  Vol.  I.  311,  356. 
Hampton,  John  W.,  Vol.  II.  43. 
Hardwick,  Earl  of,  Vol.  I.  111. 
Harper  &  Brothers,  Vol.  I.  1,  19. 
Harper,  Fletcher,  Vol.  II.  360. 
Harper,  Fletcher,  Jr.,  Vol.  II.  206, 
248. 

Harper,  J.  Abner,  Vol.  II.  206,  248. 
Harper,  J.  Henry,  Vol.  II.  164. 
Harper,  J.  W.,  Vol.  I.  1. 
Harper,  Joseph,  Jr.,  Vol.  I.  362. 
Harriman,  Oliver,  Vol.  II.  75. 
Harriot,  S.  J.,  Vol.  I.  334  ;  Vol.  II. 
209. 

Harris,  Edward,  Vol.  I.  26. 
Harrison  Collection,  Philadelphia, 

Vol.  I.  63. 
Harrison,  Mr.,  Vol.  II.  359. 
Hart,  James  M.,  Vol.  II.  281. 
Harvard  Library,  Vol.  I.  306. 
Harvey,  A.  F.,  Vol.  II.  250. 
Haseltine,  Arthur,  Vol.  II.  77. 
Haskell,  E.  B.,  collection  of,  Vol. 

I.  56,  309,  315  ;  Vol.  II.  87, 100, 
313. 

Hatch,  Rufus,  Vol.  I.  210. 
Havermeyer,  Charles  F.,  Vol.  II. 
261. 

Haviland  faience,  Vol.  I.  25,  85, 

86  ;  Vol.  II.  69,  152. 
Hawk,  Mr.,  Vol.  I.  Ill,  202;  Vol 

II.  7,  301. 

Hawkins,  Col.  RushC,  Vol.  1. 101, 
335. 

Hawkins,  Judge  W.  G.,  Vol.  II.  43. 
Hay,  Col.  John,  Vol.  I.  294,  296 ; 

Vol.  II.  265. 
Hay,  R.,  Vol.  I.  231. 
Hayden,  Albert,  Vol.  I.  64. 
Healy,  Aaron,  Vol.  II.  2. 
Hearne,  George,  Vol.  II.  258. 
Hede,  M.,  Vol.  II.  248. 
Hemans,  Charles  J.,  Vol.  II.  1. 
Hemenway,  Mrs.  Augustus,  Vol.  I. 

270. 


30 


GENERAL  INDEX. 


Herman,  Mr.,  Vol.  I.  158. 
Hermann,  Prince,  monument  to, 

Vol.  I.  32. 
Hermon,  E.,  M.  P.,  Vol.  I.  345. 
Herriman,  Mrs.,  Vol.  II.  60. 
Hertford,  Lord,  Vol.  I.  90. 
Higgins,  Robert,  Vol.  II.  77. 
Hilf,   Maria,  church  of,  Munich, 

Vol.  I.  352. 
Hilton,  Judge,  Vol.   I.  61,  210  ; 

Vol.  II.  127,  281. 
Hitchcock,  Dr.  E.  W.,  Vol.  I.  149. 
Hitz,  John,  Vol.  I.  249. 
Hoag,  Daniel  T.,  Vol.  I.  296. 
Hoe,  Mr.,  Vol.  I.  67,  378. 
Hoe,  Robert,  Vol.  I.  313  ;  Vol.  II. 

21,  105. 
Holcombe,  Dr.,  Vol.  I.  64. 
Holland,  Dr.  J.  G.,  Vol.  I.  247. 
Holland,  Queen  of,  Vol.  I.  67,  279, 

385  ;  Vol.  II.  176,  310. 
Hollis,  G.  W.,  Vol.  II.  14. 
Holmes,  J.  E.,  Vol.  II.  348. 
Holmes,  Oliver  Wendell,  Vol.  II. 

139. 

Holt,  Henry,  Vol.  II.  105. 
Hooper,  Miss,  Vol.  I.  230  ;  Vol. 
II.  30. 

Home,  R.  H.,  Vol.  II.  95. 
Horton,  F.  K  D.,  Vol.  I.  238. 
Hoschede,  M.,  Vol.  II.  170. 
Hotchkiss,  Justus,  Vol.  II.  343. 
Houghton,  Lord,  Vol.  II.  61. 
Houghton,  Mr.,  Vol.  I.  183. 
Houghton,  Osgood  &  Co.,  Vol.  I.  1, 
19. 

Howard,  George,  Vol.  I.  179. 
Howard,  Sir  George,  Vol.  II.  50. 
Howe,  George  D.,  Vol.  I.  103. 
Howe,  J.  C,  Vol.  II.  250. 
Howell,  H.  C,  Vol.  II.  236. 
Howes,  Miss  E.,  Vol.  I.  103. 
Howitt,  William  and  Mary,  Vol.  II. 
164. 

Howland,  H.  E.,  Vol.  I.  111. 


Hoyt,  Edwin,  Vol.  I.  312. 
Hugo,  Victor,  Vol.  I.  371. 
Humbert,  King  of  Italy,  Vol.  I.  39r 
53. 

Humboldt,  Baron,  Vol.  I.  355. 
Humphrey,  W.  H.,  Vol.  II.  10. 
Hunnewell,  Mr.,  Vol.  I.  254. 
Hunt,  Dr.  E.  K.,  Vol.  II.  303. 
Hunt,  S.  V.,  Vol.  II.  21. 
Huntington,  C.  P.,  Vol.  II.  75. 
Hutchinson,  C.  L.,  Vol.  II.  251. 
Huth,  Louis,  Vol.  II.  44. 

Illinois  State  House,  Vol.  II.  327. 
Industrial  Museum,  Scotland,  Vol. 
I.  266. 

Ingersoll,  James  H.,  Vol.  II.  143. 
Ingram,  W.  M.  P.,  Vol.  II.  124. 
International  Exhibition  of  London, 
Ionides,  Mr.,  Vol.  II.  51. 

buildings  of,  Vol.  I.  266. 
Irwin,  William  D.,  Vol.  II.  261. 
Ives,  Brayton,  Vol.  I.  97. 

Jackson,  Andrew,  Vol.  II.  348. 
Jaffrey,  John,  Vol.  II.  13. 
James,  F.,  of  Philadelphia,  Vol.  I. 
40. 

James,  Henry,  Vol.  II.  105. 
James,  Mrs.  John  W.,  Vol.  I.  240. 
Jameson,  J.  A.,  Vol.  II.  254. 
Jarvis,  N.,  Vol.  II.  208. 
Jefferson  College,  Vol.  I.  232. 
Jenkins,  A.,  Vol.  II.  208. 
Jerome,  L.,  Vol.  I.  238,  384. 
Jessup,  Morris  K.,  Vol.  I.  137,  144  ; 

Vol.  II.  21,  227. 
Jewett,  John  W.,  Vol.  II.  343. 
Johnson,  Eastman,  Vol.  I.  133. 
Johnson,  Mr.,  of  Philadelphia,  Vol. 

I.  55. 

Johnston,  J.  H.,  Vol.  I.  287. 
Johnston,  John  N„  Vol.  I.  173. 
Johnston,  John  Taylor,  Vol.  I.  44, 
52,  192,  334,  337,  339,  378  ;  Vol. 


GENERAL  INDEX. 


31 


II.  64,  105,  129,  209,  242,  245, 
263,  277,  297,  305,  342. 
Johnston,  Mrs.  Henry  E.,  Vok  I. 
100. 

Johnston  sale,  Vol.  I.  3,  10,  17,  42, 
46,  53,  71,  78,  80,  91,  94,  96, 
123,  124,  129,  134,  137,  139, 
144,  159,  184,  188,  195,  197, 
200,  205,  212,  215,  225,  227, 
230,  231,  235,  238,  240,  252, 
265,  272,  290,  293,  294,  296, 
302,  322,  329,  335,  337,  344, 
346,  348,  360,  362,  370,  376,  382, 
384,  385  ;  Vol.  II.  12,  18,  21, 
24,  26,  34,  57,  59,  85,  107,  109, 
112,  113,  136,  139,  162,  165,  170, 
185,  186,  193,  198,  217,  231,  239, 
251,  256,  302,  305,  311,  313,  314, 
315,  322,  352,  356,  361,  369,  371. 

Jones,  Mr.,  of  Brooklyn,  Vol.  II. 
104. 

Jordan,  Eben,  Vol.  II.  139. 
Judson,   Dr.,   of  St.  Petersburg, 

Russia,  Vol.  II.  254. 
Judson,  W.  D.,  Vol.  II.  164. 
Jupiter    Parhellenien   Temple  in 

Greece,  Vol.  I.  281. 

Kearney,  Gen.  Philip,  Vol.  II.  281, 
348. 

Keep  Monument  in  Watertown, 

N.  Y.,  Vol.  II.  327. 
Kempton,  Mrs.  Jenny  F.,  Vol.  II. 

251. 

Kendall,  W.  B.,  Vol.  I.  95. 

Kennard,  T.  W.,  Vol.  I.  61. 

Kensett,  J.  F.,  Vol.  II.  30. 

Kensett,  Thomas,  Vol.  1.  95,  149. 

Kent,  Duchess  of,  statue  at  Frog- 
more,  Vol.  II.  287. 

Ketchum,  Morris,  Vol.  I.  122. 

Khalil-Bey  sale,  Vol.  I.  90,  140, 
290  ;  Vol.  II.  109,  304. 

Khedive  of  Egypt,  Vol.  I.  208;  Vol. 
II.  308. 


Kidder,  H.  P.,  collection  of,  Vol. 

I.  58,  75,  80,  159,  192,  225,  270, 

324,  342  ;  Vol.  II.  328,  369. 
Kimball,  Frank  R.,  Vol.  II.  245. 
Kimball,  Mrs.  E.  D.,  Vol.  I.  102, 

184,  358  ;  Vol.  II.  264,  339. 
King  George,  Vol.  II.  103. 
King,  Henry  W.,  Vol.  I.  231. 
King  Louis,  Vol.  II.  243. 
King  Ludwig,  palace  of,  Vol.  II.  19. 
King,  Mrs.  William  H.,  Vol.  II.  11. 
King  of  Bavaria,  Vol.  I.  77,  117, 

260. 

King  of  Belgium,  Vol.  I.  208,  228, 
279  ;  Vol.  II.  257,  273,  352,  356. 
King  of  France,  Vol.  I.  297. 
King  of  Hanover,  Vol.  I.  117. 
King  of  Holland,  Vol.  II.  257. 
King  of  Portugal,  Vol.  II.  257. 
King  of  Westphalia,  Vol.  II.  316. 
Kncedler,  M.,  Vol.  I.  25. 
Knowles  sale,  Vol.  I.  73. 
Knyft",  Chevalier  de,  Vol.  II.  27. 
Kolbacher,  Herr,  Vol.  II.  177. 

Laderell,  Count,  Vol.  I.  53. 

Lamont  sale,  Vol.  I.  43. 

Landis,  Mrs.,  Vol.  I.  40. 

Lane,  Miss  Harriet,  Vol.  I.  100. 

Lanthier,  L.  A.,  Vol.  II.  11. 

Lardner,  Mrs.  John,  Vol.  II.  354. 

Latham  sale,  Vol.  I.  25,  44,  46,  73, 
80,  90,  112,  139,  153,  193,  205, 
279,  290,  329,  353  ;  Vol.  II.  18, 
24,  26,  49,  67,  84,  107,  113,  149, 
231,  245,  273,  301,  304,  315, 
323,  326,  352. 

Lathrop,  D.  J.,  Vol.  I.  287. 

Laurent-Richard  sale,  Paris,  Vol.  I. 
194,  205  ;  Vol.  II.  226,  302,  371. 

La  Valette,  Count  Welles  de,  Vol. 
I.  200. 

Lawrence,  Abbott,  Vol.  I.  180. 
Lawrence,  Henry  E.,  Vol.  I.  295. 
Lawrence,  Mrs.  H.  E.,  Vol.  II.  128. 


32 


GENERAL  INDEX. 


Lawrence,  James,  Vol.  II.  139. 
Lawrence,  Mrs.  T.  Bigelow,  Vol.  I. 

151,  168. 
Lawrence,  Sir  Thomas,  Vol.  I.  181. 
Lee,  Mrs.  Gideon,  Vol.  II.  252. 
Lehon  sale,  Paris,  Vol.  I.  188,  190  ; 

Vol.  II.  109. 
Lenox,  James,  Vol.  I.  61, 144  ;  Vol. 

II.  61,  134. 
Leopold  II.,  Vol.  I.  249. 
Lessona,  Sig.,  Vol.  II.  131. 
Leupp  Collection,  Vol.  I.  227,  235, 

382. 

Lewis,  Arthur,  Vol.  I.  385. 
Lewis,  F.  W.,  Vol.  II.  259. 
Library  of  the  Luxembourg,  Vol.  II. 
254. 

Library  of  St.  Genevieve,  Vol.  I. 
201. 

Liebig,  Baron,  Vol.  II.  177. 

Lille,  Museum  or  Gallery  of,  Vol. 

I.  40,  62,  75,  226,  359  ;  Vol.  II. 

47,  53,  147,  240. 
Lincoln,  D.  Waldo,  Vol.  II.  156, 

240. 

Lincoln,  Mrs.,  Vol.  I.  100. 
Lindsay,  Sir  Coutts,  Vol.  I.  179. 
Litta,  Duke  Antonio,  Vol.  II.  314. 
Livermore,  Mrs.  George,  Vol.  II. 
367. 

Livermore,  K.  B.,  Vol.  II.  248. 
Lizardi,  M.  de,  Vol.  II.  103. 
Lockwood,  Le  Grand,  Vol.  I.  337. 
London  sale,  Vol.  I.  197,  272,  280, 

323,  331,  342  ;  Vol.  II.  23,  67, 

84,  109,  111,  304,  305. 
Longfellow,  H.  W.,  Vol.  I.  102, 

212,  270  ;  Vol.  II.  290. 
Longstreet,  Mrs.  A.  C,  Vol.  II.  174. 
Longworth  Collection,  Vol.  I.  92. 
Lord,  George  De  Forest,  Vol.  I.  369. 
Lord,  Samuel,  Vol.  I.  294. 
Lorillard,  L.  L.,  Vol.  II.  261. 
Lome,  Marchioness  of,  Vol.  I.  87  ; 

Vol.  II.  355. 


Lome,  Marquis  of,  Vol.  I.  326. 
Lotus  Club,  New  York,  Vol.  II.  278. 
Louis  I.  of  Bavaria,  Vol.  II.  76, 
207. 

Louis  Philippe,  Vol.  I.  256  ;  Vol. 
II.  318. 

Louvre  Museum,  Vol.  I.  1,  4,  27, 
31,  38,  39,  70,  77,  163,  182,  184, 
187,  201,  203,  206,  218,  220, 
223,  230,  243,  385  ;  Vol.  II.  86, 
114,  254. 

Low,  A.  A.,  Vol.  I.  94  ;  Vol.  II. 
163. 

Low,  J.  O.,  Vol.  II.  287. 

Lutkins,  Dr.,  Vol.  II.  165. 

Luxembourg,  Gallery  of,  Vol.  I.  2, 
3,  8,  12,  15,  20,  35,  38,  40,  45, 
50,  51,  53,  55,  57,  58,  59,  60,  62, 
65,  66,  70,  72,  74,  79,  90,  91,  92, 
112,  113,  126,  129,  134,  135,  136, 
138,  156,  158,  163,  166,  170, 177, 
179,  184,  187,  188,  193,  196,  198, 
200,  201,  203,  212,  218,  219,  220, 
223,  226,  230,  237,  241,  247,  252, 
258,  261,  266,  267,  271,  275,  289, 
290,  292,  297,  300,  301,  302,  306, 
316,  318,  319,  328,  329,  332,  342, 
343,  345,  353,  359,  372,  384,  385  ; 
Vol.  II.  4,  7,  8,  9,  18,  24,  33,  34, 
39,  40,  42,  45,  47,  49,  50,  52,  53, 
57,  58,  59,  60,  64,  65,  73,  86,  87, 
91,  99,  106,  111,  118,  120,  124, 
130,  134,  136,  142,  154, 157,  163, 
167,  170, 172,  178,  185, 186,  201, 
203,  204,  211,  212,  215,  221,  226, 
228,  230,  245,  246,  248,  253,  255, 
280,  288,  298,  301,  302,  307,  321, 
327,  339,  361,  370. 

Luxembourg,  Garden  of,  Vol.  I.  74, 
140  ;  Vol.  II.  86. 

Luxembourg,  library  of  the,  Vol. 
II.  254. 

Luynes,  Duke  de,  Vol.  I.  126,  218  ; 

Vol.  II.  9,  254. 
Lyman,  Theodore,  Vol.  II.  230. 


GENERAL  INDEX. 


33 


Maclaggan,  P.,  M.  P.,  Vol.  I.  234. 
Maclay,  Mrs.  Mark  W.,  Vol.  I.  143. 
Madeleine,  the  church  of  the,  Paris, 

Vol.  I.  77,  163,  228,  241  ;  Vol. 

II.  57,  87,  94,  253,  301. 
Magee,  George,  Vol.  I.  64. 
Maghee,  J.  H.,  Vol.  I.  323. 
Maison  d'Or,  Paris,  Vol.  II.  46. 
Maison  du  Eoi,  Vol.  II.  316. 
Majoribanks,   Sir  Dudley  Coutts, 

Vol.  I.  39. 
Mally,  Mr.,  Vol.  I.  211. 
Manzoni,  Count,  of  Forli,  Vol.  I.  5. 
Marcelle,  Camille,  Vol.  II.  92. 
Marchioness  of  Lome,  Vol.  I.  87  ; 

Vol.  II.  355. 
Margetson,  John,  Vol.  I.  106. 
Maria,  Grand  Duchess,  Vol.  I.  82, 106. 
Maria  Louisa,  Vol.  II.  316. 
Marks,  Henry,  Vol.  II.  43. 
Marlborough,  Duke  of,  Vol.  I.  153. 
Marquand,  H.  G.,  Vol.  II.  64,  349. 
Marquis  du  Lau,  Vol.  I.  195. 
Marquis  of  Lome,  Vol.  I.  326. 
Marsden,  Mr.,  Vol.  II.  116. 
Martin,  Morris,  Vol.  II.  266. 
Mason,  Kobert  M.,  Vol.  II.  10. 
Matthews,  Mr.,  Vol.  II.  369. 
Maximilian  I.,  Vol.  I.  182. 
Maximilian  II.,  Vol.  II.  233. 
Maximilian  Church  at  Diisseldorf, 

Vol.  II.  250. 
Maximilian,  Duke,  palace  of,  Vol. 

II.  19. 

Maximilineum  at  Munich,  Vol.  I. 
319  ;  Vol.  II.  182. 

Maxwell,  A.,  Vol.  I.  343. 

Mayer,  C.  L.,  Vol.  II.  102. 

Maynard,  E.  D.,  Vol.  II.  12. 

Maynard,  Mrs.  H.  E.,  collection  of, 
Vol.  I.  15,  27,  96,  97,  130,  150, 
184,  205,  225,  230,  252,  254,  273, 
383  ;  Vol.  II.  33,  78,  111,  113, 
167,  210,  214,  222,  245,  285,  298, 
311,  315,  322,  369. 


Mayo,  Miss,  Vol.  I.  168. 
McAlpine,  D.  H.,  Vol.  II.  292. 
McCoy,  J.  W.,  Vol.  I.  97,  369  ; 

Vol.  II.  102. 
McHenry,  James,  Vol.  I.  61. 
McKay,  Gordon,  Vol.  II.  2. 
Means,  Mr.,  Vol.  I.  55. 
Mechanics'  Fair,  Boston,  1878,  Vol. 

I.  44,  75,  76,  240,  278,  287,  305, 
309,  315,  324,  325,  326,  342,  373, 
383  ;  Vol.  II.  5,  12,  72,  84,  87, 
93,  100,  156,  169,  210,  288,  303, 
313. 

Mecklenbourg,  Duke  of,  Vol.  II. 
244. 

Meiggs,  John  G.,  Vol.  I.  111. 
Melcher,  John  L.,  Vol.  II.  117. 
Mellen,  Abner,  .Jr.,  Vol.  II.  12. 
Mellen,  Mrs.  Abner,  Vol.  II.  64. 
Merrick,  E.,  Vol.  I.  64. 
Merrill,  Moody,  Vol.  I.  292. 
Messenger,  T.,  Vol.  I.  296. 
Middleton,  John,  Vol.  II.  96. 
Mieville,  M.,  Vol.  II.  51. 
Milbank,  Jeremiah,   collection  of, 

Vol.  I.  16,  130  ;  Vol.  II.  Ill, 

202. 

Millbank,  Joseph,  Vol.  II.  297. 
Miller,  C.  H.,  Vol.  I.  358  ;  Vol.  II. 
264. 

Miller,  E.  H.,  Vol.  II.  290. 
Mills,  D.  O.,  Vol.  II.  106,  144. 
Ministry  of  the  Beaux-Arts,  Vol.  I. 

113,  156,  196,  371 ;  Vol.  II.  192, 

196,  233,  322. 
Ministry  of  the  Interior,  Vol.  I. 

273,  297. 
Ministry  of  Public  Instruction,  Vol. 

II.  196. 

Ministry  of  State,  Vol.  I.  258,  371  ; 

Vol.  II.  7. 
Mitchell,  Mrs.  A.,  Vol.  II.  297. 
Mitchell,  Vance  &  Co.,  Vol.  I.  37. 
Monastery  of  Visitation  at  Troyes, 

Vol.  II.  10. 


34 


GENERAL  INDEX. 


Moncke,  Lord,  Vol.  II.  164. 
Montaiglon,  Anatole  de,  Vol.  II.  55. 
Monument  de  Juillet,  Paris,  Vol.  I. 
221. 

Moore,  John  M.,  Vol.  I.  231. 
Moore,  R.  E.,  Vol.  II.  128. 
Morehead,  W.  G.,  Vol.  II.  1. 
Morgan,  E.  D.,  Vol.  I.  192,  335  ; 

Vol.  II.  189,  230,  313. 
Morgan,  George  D.,  Vol.  II.  297. 
Morgan,  James  L.,  Vol.  II.  351. 
Morgan,  William  F.,  Vol.  II.  220. 
Moray,  M.  de,  Vol.  I.  73. 
Morrill,  Mr.,  Vol.  II.  13. 
Mosher,  Dr.,  Vol.  II.  96. 
Mouchy,  Duke  de,  Vol.  I.  119. 
Moulton,  F.  D.,  Vol.  I.  121. 
Mount  Auburn,  Vol.  I.  84,  371  ; 

Vol.  II.  277. 
Munger,  A.  A.,  Vol.  II.  251. 
Munson,  E.  A.,  Vol.  II.  11. 
Murger,  tomb  of,  Vol.  II.  121. 
Murthley  Castle,  Vol.  II.  117. 
Musard  Hotel,  Vol.  I.  129. 
Museum  of  Alencon,  Vol.  II.  42, 

50. 

Museum  of  Amiens,  Vol.  I.  35,  73  ; 

Vol.  II.  59. 
Museum  of  Angers,  Vol.  I.  184. 
Museum  at  Avignon,  Vol.  II.  317. 
Museum  of  Bale,  Vol.  I.  68  ;  Vol. 

II.  313. 

Museum  of  Bordeaux,  Vol.  I.  62, 

143,  228,  343  ;  Vol.  II.  240,  284. 
Museum  of  Boulogne,  Vol.  II.  47. 
Museum  of  Brescia,  Vol.  I.  250. 
Museum  of  Brussels,  Vol.  I.  328  ; 

Vol.  II.  67,  99,  143,  257,  273, 

310,  315. 
Museum  of  Caen,  Vol.  I.  241  ;  Vol. 

II.  9. 

Museum  of  Cambrai,  Vol.  I.  196. 
Museum  of  Carcassone,  Vol.  I.  206. 
Museum  of  Carlsruhe,  Vol.  I.  278. 
Museum  of  Charles  X.,  Vol.  II.  318. 


Museum  of  Cologne,  Vol.  I.  53; 

Vol.  II.  244,  271,  313. 
Museum  of  Courtrai,  Vol.  II.  22. 
Museum  of  Dijon,  Vol.  I.  1,  113, 

206,  301  ;  Vol.  II.  50,  147. 
Museum  of  Douai,  Vol.  I.  134, 

158. 

Museum  of  Dresden,  Vol.  II.  249, 
326. 

Museum  of  Frankfort,  Vol.  II.  67, 
177. 

Museum  of  Geneva,  Vol.  I.  206. 
Museum  of  Ghent,  Vol.  I.  82,  320  ; 

Vol.  II.  67. 
Museum  of  Haarlem,  Vol.  II.  113, 

144. 

Museum  of  The  Hague,  Vol.  I.  82  ; 

Vol.  II.  143. 
Museum  of  Hamburg,  Vol.  I.  287  ; 

Vol.  II.  253. 
Museum  of  Havre,  Vol.  II.  42,  132. 
Museum  of  Konigsberg,  Vol.  I.  89, 

172  ;  Vol.  II.  244. 
Museum  of  Langres,  Vol.  I.  76, 

158. 

Museum  of  Lausanne,  Vol.  I.  206, 
302. 

Museum  of  Leipsic,  Vol.  I.  5,  50, 
54,  60,  106,  114,  191,  239,  283, 
284,  289,  318,  324,  351,  352; 
Vol.  II.  7,  26,  69,  76,  186,  193, 
194,  206,  222,  240,  243,  244, 
246,  248,  263,  267,  284,  304, 
326,  328,  339,  358. 

Museum  of  Liege,  Vol.  I.  279. 

Museum  of  Lille,  Vol.  I.  40,  62,  75, 
226,  359  ;  Vol.  II.  47,  53,  147, 
240. 

Museum  of  Louvain,  Vol.  II.  99. 

Museum  of  the  Louvre,  Vol.  I.  1, 
4,  27,  31,  38,  39,  70,  77,  163, 
182,  184,  187,  201,  203,  206,  218, 
220,  223,  230,  243,  385  ;  Vol.  II. 
86,  114,  254. 

Museum  of  Madrid,  Vol.  I.  124. 


GENERAL  INDEX. 


35 


Museum  of  Marseilles,  Vol.  I.  158, 
196,  328,  330  ;  Vol.  II.  179,  196, 
264. 

Museum  Metropolitan  of  New  York, 
Vol.  I.  151,  170  ;  Vol.  II.  312, 
349. 

Museum  of  Metz,  Vol.  I.  158. 
Museum  of  Mons,  Vol.  I.  82. 
Museum  of  Montauban,  Vol.  I.  301. 
Museum  of  Montpellier,  Vol.  I.  58. 
Museum  of  Mulhouse,  Vol.  I.  301. 
Museum  at  Munich,  Vol.  II.  29, 

193,  242,  244. 
Museum  of  Nantes,  Vol.  I.  40,  90, 

184. 

Museum  of  Narbonne,  Vol.  I.  97. 
Museum  of  Neuchatel,  Vol.  I.  299. 
Museum  of  Nevers,  Vol.  I.  330. 
Museum  of  Nimes,  Vol.  I.  60. 
Museum  of  Niort,  Vol.  I.  76. 
Museum  of  Orleans,  Vol.  I.  20. 
Museum  of  Pau,  Vol.  I.  134. 
Museum  of  Pesth,  Vol.  II.  329. 
Museum  of  Kouen,  Vol.  I.  129 ; 

Vol.  II.  132,  254. 
Museum  of  St.  Omer,  Vol.  L  223. 
Museum  of  San  Marco,  Florence, 

Vol.  I.  39. 
Museum  of  Stockholm,  Vol.  I.  57, 

359  ;  Vol.  II.  197. 
Museum  of  Strasbourg,  Vol.  I.  237. 
Museum  of  Toulouse,  Vol.  I.  384  ; 

Vol.  II.  42. 
Museum  of  Tours,  Vol.  II.  47. 
Museum  of  Troyes,  Vol.  II.  10,  254, 

255. 

Museum  of  Valence,  Vol.  II.  47. 

Museum  of  Vendome,  Vol.  I.  134. 

Museum  of  Versailles,  Vol.  I.  3,  16, 
22,  31,  45,  50,  51,.  65,  138,  143, 
163,  182,  187,  203,  223,  228, 
241,  250,  279,  281,  297,  299, 
318,  343,  384,  385  ;  Vol.  II.  4, 
33,  39,  101,  114,  178,  181,  186. 
215,  221,  253,  254,  276,  318,  332. 


Museum  of  Vienna,  Vol.  I.  64,  117, 
315,  379  ;  Vol.  II.  124. 

Napoleon  I.,  Vol.  I.  37. 

Napoleon  III.,  Vol.  I.  153,  158, 

208  ;  Vol.  II.  10,  107,  195,  242, 

314,  352. 
Nash,  J.  F.,  Vol.  II.  278. 
National  Academy,  New  York,  Vol. 

I.  56,  78,  137,  149,  180,  183,  233, 
238,  266,  286,  309,  321,  327  ; 
Vol.  II.  10,  45,  46,  96,  134,  145, 
153,  343. 

National  Gallery,  London,  Vol.  I. 
36,  83,  141,  152,  154,  231,  233, 
236,  241,  269,  274,  303,  324, 
351,  365;  Vol.  II.  14,  15,  32, 
33,  35,  36,  48,  61,  69,  71,  83, 
137,  155,  180,  202,  216,  268, 
304,  308,  333,  340,  352,  353, 
358. 

National  Museum  of  Education, 
Washington,  Vol.  II.  267. 

Natural  Science  Kooms,  Buffalo, 
Vol.  II.  249. 

Neill,  William,  Vol.  I.  345. 

Nelson  Monument,  London,  Vol. 

II.  360. 

Nevins,  Mr.,  Vol.  II.  2. 
Newton  Theological  Seminary,  Vol. 
II.  367. 

New  University  Club,  London,  Vol. 
II.  336. 

Nickerson,  Samuel,  Vol.  II.  144. 
Nicolas  Church,  statues  at,  Vol.  II- 
146. 

Niebelungen,  Grand  Hall  of  the,  at 

Munich,  Vol.  II.  7. 
Niederwald,   National  Monument 

in  the,  Vol.  II.  241. 
Noel,  Vol.  I.  86. 
Norcross,  Miss,  Vol.  I.  254. 
Norton,  Charles  E.,  Vol.  II.  227. 
Norzy  sale,  Paris,  Vol.  I.  197  ;  Vol. 

II.  302,  371. 


30 


GENERAL  INDEX. 


Oakey,  Daniel,  Vol.  II.  153. 
O'Brien,  John  0.,  Vol.  I.  122. 
O'Brien,  S.  W.,  Vol.  I.  111. 
O'Brien,  William,  Vol.  I.  122. 
Odio,  M.,  Vol.  II.  317. 
O'Donovan,  Mr.,  of  Baltimore,  Vol. 
II.  23. 

Oetgelt,  M.,  Vol.  II.  177. 
Ogden,  Francis  Barbour,  Vol.  I. 
369. 

Olyphant,  R.  M.,  collection  of,  Vol. 

I.  56,  123,  144,  173,  294,  312, 
370  ;  Vol.  II.  21,  64,  131,  280, 
350. 

Olyphant  sale,  Vol.  II.  21. 

Opera  ornamentale  pubblicato  per 

cura  dell'  academia  di  belle-arti 

de  Venezia,  Vol.  I.  76. 
Oppenheim,  M.,  Vol.  I.  342. 
Oppenheim  sale,  Vol.  I.  75,  96, 

195,  205,  240,  265,  275,  290  ;  Vol. 

II.  67,  84,  92,  177,  215. 
Organ,  the  great,  Boston,  Vol.  I. 

63. 

Orleans,  Duke  of,  Vol.  I.  82 ;  Vol. 

II.  317. 
Osborn,  John,  Vol.  II.  281. 
Osborne  House,  Isle  of  Wight,  Vol. 

I.  17,  137,  231  ;  Vol.  II.  169. 
Osborne,  Mrs.,  Vol.  I.  296. 
Osgood,  James  R.,  Vol.  I.  345  ;  Vol. 

II.  360. 

Osgood,  James  R.  &  Co.,  Vol.  1. 19. 
Otis,  Dr.  F.  N.,  Vol.  I.  113,  296, 

339  ;  Vol.  II.  96,  214. 
Otis,  Mr.,  Vol.  I.  55. 

Padelford,  Ex-Governor,  Vol.  II. 
290. 

Palace  of  Justice,  Paris,  Vol.  I.  22, 
75,  131,  221,  223,  228  ;  Vol.  II. 
39,  52,  112,  172. 

Palace  of  St.  Cloud,  Vol.  I.  184. 

Palais-Royal,  Vol.  I.  228  ;  Vol.  II. 
317. 


Palazzo  Vecchio,  Florence,  Vol.  II. 
168. 

Palette  Club,  New  York,  Vol.  I. 

211  ;  Vol.  II.  309. 
Palmer,  Cortlandt,  Vol.  II.  11,  254. 
Paris  sale,  Vol.  I.  139,  140,  178, 

188,  194  ;  Vol.  II.  68,  177,  204, 

302. 

Parker,  Henry  D.,  Vol.  II.  139. 
Parliament  Houses,  London,  Vol.  I. 

23,  50,  154,  230,  232,  257,  365  ; 

Vol.  II.  82,  83,  95,  139,  337. 
Parrott,  R.  P.,  Vol.  I.  168. 
Pascault,  M.,  Vol.  I.  75. 
Paschkoff,  M.,  Vol.  I.  342. 
Pasteur,  M.  E.,  Vol.  I.  65. 
Peabody  Institute,  Baltimore,  VoL 

II.  102,  201,  213. 
Peake,  W.  J.,  Vol.  I.  294. 
Pembroke,  Lord,  Vol.  II.  318. 
Penfold,  William  H.,  Vol.  I.  106. 
Penn,  John,  Jr.,  Vol.  I.  367. 
Pereire,  Hotel,  Paris,  Vol.  II.  226. 
Pereire  sale,  Paris,  Vol.  II.  215. 
Perkins,  C.  C,  VoL  I.  170. 
Permanent  Fine  Art  Exhibition, 

Philadelphia,  Vol.  I.  88. 
Perrier,  Paul,  Vol.  I.  204. 
Peto,  Sir  Morton,  Vol.  I.  340  ;  VoL 

II.  268. 
Phelps,  G.  D.,  Vol.  II.  214. 
Phelps,  Mrs.  A.  R.,  Vol.  II.  214. 
Phillip,  John,  R.  A.,  Vol.  II.  80. 
Phillips  Academy,  Andover,  VoL 

II.  275. 

Phillips,  John  C,  VoL  II.  245. 
Phillipps,  Sir  B.  S.,  VoL  II.  144. 
Piazza  dell  a  Stagione  at  Ravenna, 

VoL  II.  168. 
Piazza  Santa  Croce,  Florence,  Vol. 

II.  168. 

Pierrepont,  H.  E.,  VoL  II.  163. 
Pinakothek,  the,  of  Munich,  Vol. 

I.  2,  157,  278,  337  ;  Vol.  II.  53, 

182,  207. 


GENERAL  INDEX. 


37 


Pinchot,  J.  W.,  Vol.  II.  105,  350. 
Pitti  Gallery,  Florence,  Vol.  I.  37, 

60,  223,  226. 
Pitti  Palace,  Florence,  Vol.  I.  56. 
Piatt,  Isaac  S.,  Vol.  II.  292. 
Plint  sale,  London,  Vol.  II.  68. 
Plutarch  Restored,  Vol.  II.  362. 
Poland,  Vice-Governor  of,  Vol.  I. 

319. 

Polhemus,  Henry  D.,  Vol.  I.  52  ; 

Vol.  II.  281. 
Pond,  Hon.  Charles  M.,  Vol.  II.  303. 
Ponti,  banker  at  Milan,  Vol.  I.  248. 
Portugal,  King  of,  Vol.  I.  330. 
Post,  Mrs.  E.  K.,  Vol.  I.  345. 
Potter,  Clarkson,  Vol.  I.  97. 
Potter,  Sir  Richard,  Vol.  I.  84. 
Pound,  Mrs.,  Vol.  I.  55. 
Pourtales  sale,  Vol.  I.  197. 
Powell,  Robert  Hare,  Vol.  II.  127. 
Powerscourt,  Viscount,  Vol.  II.  44. 
Pre-Raphaelite  School  of  Painting, 

Vol.  II.  116. 
Preston,  Miss  Harriet  W.,  Vol.  II. 

139. 

Prevost  sale,  Paris,  Vol.  II.  92. 
Prime,  William  C,  Vol.  II.  303. 
Prince  Albert,  Vol.  I.  155,  156, 

176,  323 ;  Vol.  II.  27,  107,  154, 

169,  180,  288. 
Prince  Albert  of  Prussia,  Vol.  II. 

242. 

Prince  Albert,  tomb  of,  Vol.  II.  301. 
Prince  Esterhazy,  Vol.  II.  281. 
Prince  Heinrich  XVIII.  of  Reuss, 

Vol.  II.  282. 
Prince  Hercolani,  Vol.  II.  281. 
Prince  .Napoleon,  Vol.  I.  183,  267. 
Prince  Royal  of  Prussia,  Vol.  I.  73. 
Prince  of  Wales,  Vol.  I.  102,  326  ; 

Vol.  II.  53. 
Princes  of  Lbwenstein  at  Heubach- 

sur-Mein,  Vol.  II.  271. 
Princess  Albert  of  Prussia,  Vol.  II. 

10.  , 


Princess  Christian,  Vol.  II.  10. 
Princess  of  Lichtenstein,  chapel  of, 

VoL  II.  184. 
Princess  Marie  de  Lichtenstein, 

Vol.  II.  271. 
Princess  Mathilde,  Vol.   I.  194  ; 

Vol.  II.  226. 
Probasco,  Mr.,  Vol.  I.  333,  335, 

355  ;  Vol.  II.  20,  91,  107,  182, 

239,  265,  282,  332. 
Putnam,  Rev.  A.  P.,  Vol.  II.  286. 

Queen  Christine,  Vol.  I.  263. 
Queen  of  Holland,  Vol.  I.  67,  279, 

385  ;  Vol.  II.  176,  310. 
Queen  Marie-Amelie,  Vol.  I.  256, 

258. 

Queen  Victoria,  Vol.  I.  87,  96,  98, 
135,  151,  156,  209,  274,  323, 
326,  339,  347,  361  ;  Vol.  II.  80, 
83,  166,  179,  184,  289,  301,  310, 
332,  346. 

Ralston,  W.  C,  Vol.  I.  111. 
Ravenet,  M.,  Vol.  II.  245. 
Raynor,  W.  H.,  Vol.  I.  347. 
Read,  Matthew,  Vol.  II.  127. 
Read,  Mrs.,  Vol.  I.  100. 
Reed,  Lyman,  Vol.  I.  144. 
Reese,  William  A.,  Vol.  II.  280. 
Regnault,  V.,  Vol.  II.  204. 
Regnet,  Carl  Albert,  Vol.  II.  247. 
Rensselaer,  Eugene  Van,  Vol.  II. 
254. 

Rhodes,  John,  Vol.  I.  172. 
Rich,  Isaac,  Vol.  I.  292. 
Richards,  W.  T.,  Vol.  I.  78. 
Richmond,  G.  B.,  Vol.  II.  157. 
Richmond,  H.,  Vol.  II.  12. 
Richmond,  J.  B.,  Vol.  II.  341. 
Riggs,  George,  Vol.  II.  102. 
Riggs,  G.  W.,  Vol.  II.  168. 
Riggs,  Mr.,  Vol.  I.  345. 
Riker,  John  L.,  Vol.  I.  369. 
Ripley,  Joseph,  Vol.  II.  133. 


38 


GENERAL  INDEX. 


Riston,  John  A.,  Vol.  II.  64. 
Ritchie,  A.  H.,  Vol.  I.  321. 
Robaut,  Mr.,  Vol.  I.  158. 
Robbins,  H.  W.,  Vol.  II.  214. 
Roberts,  H.,  Vol.  I.  88. 
Roberts,  Lewis,  Vol.  I.  61. 
Roberts,  M.  0.,  collection  of,  Vol. 

I.  29,  56,  78,  101,  137,  144,  238, 

295,  312,  321,  322,  335,  378; 

Vol.  II.  114,  135,  168,  189,  279, 

297. 

Robertson,  Touro,  Vol.  II.  259. 
Robinson,  Nelson,  Vol.  I.  122. 
Robinson,  W.  F.,  Vol.  II.  250. 
Rockefellow,  F.,  Vol.  II.  345. 
Rogers,  C.  B.,  picture  of,  Vol.  I.  27. 
Rogers,  Charles,  Vol.  II.  278,  290. 
Rogers,  E.  L.,  Vol.  I.  144. 
Rogers,  Fairman,  Vol.  I.  346. 
Rogers,  John,  Vol.  II.  248. 
Rogers,  the  poet,  Vol.  I.  211. 
Rohan,  Duke  of,  Vol.  II.  318. 
Rone,  M.,  Vol.  II.  177. 
Rothschild,  Baron,  Vol.  I.  119,  265, 
296. 

Rothschild,  Baroness  Nathaniel  de, 
Vol.  II.  32. 

Royal  Academy,  London,  Vol.  I. 
139,  194,  209,  234  ;  Vol.  II.  54. 

Royal  Association  for  the  Promo- 
tion of  Fine  Arts,  Vol.  I.  235. 

Royal  Exchange,  London,  Vol.  II. 
76. 

Royal  Palace  of  Lisbon,  Vol.  I.  217. 
Royal  Scottish  Academy,  Vol.  I. 
210. 

Rudersdorff,  Mme.,  Vol.  II.  139. 

Sage,  Mrs.  Dean,  Vol.  I.  95. 
Saint-Cloud,  Vol.  II.  276. 
Salem  Independent  Cadets,  Vol.  II. 
367. 

Salem  Normal  School,  Vol.  II.  367. 
Salford  Gaol,  Manchester,  Vol.  II. 
336. 


Salle  des  Etats,  Berlin,  Vol.  II. 
296. 

Salon  of  Constantine,  Paris,  Vol. 
II.  319. 

Salon  of  the  French  School,  Rome, 

Vol.  I.  223. 
Sand,  George,  Vol.  I.  73. 
Sandeman,  J.  G.,  Vol.  II.  151. 
San  Donato  sale,  Vol.  I.  197. 
Sands,  Philip  J.,  Vol.  I.  295. 
Sankenau,  Mr.,  Vol.  II.  175. 
Saraceni,  Count,  Vol.  I.  124. 
Sargent,  Winthrop,  Vol.  II.  139. 
Sarony,  N.,  Vol.  I.  295. 
Sartain,  Mr.,  of  Philadelphia,  Vol. 

II.  306. 

Saville  Collection,  Vol.  II.  260. 

Saxe-Coburg  of  Gotha,  Prince  of, 
Vol.  II.  311. 

Say,  M.,  Vol.  I.  290  ;  Vol.  II.  109. 

Sayles,  H.,  Vol.  I.  164. 

Sayles,  J.,  Vol.  I.  146. 

Schack,  Baron,  Vol.  II.  58. 

Schack,  Count  A.  von,  Vol.  I.  68. 

Schaus,  W.,  Vol.  I.  46,  152. 

Scheffel,  T.  V.  von,  Vol.  II.  344. 

Scheffer,  S.  M.,  Vol.  II.  103. 

Schiller  Monument,  Vol.  I.  49. 

Schlesinger,  B.,  Vol.  I.  159;  Vol. 
II.  93,  100. 

Schultz,  Jackson,  Vol.  II.  254. 

Schuyler,  Montgomery,  Vol.  II.  96. 

Schuyler,  Philip,  Vol.  II.  261. 

Schuyler,  R.  M.,  Vol.  II.  363. 

Schwabacher,  M.,  Vol.  I.  75. 

Scott,  John,  Vol.  II.  43. 

Scott,  John  B.,  Vol.  I.  7. 

Scottish  National  Gallery,  Vol.  I. 
9,  98,  136,  218,  224,  355,  378  ; 
Vol.  II.  41,  166,  171,  271. 

Scottish  National  Memorial,  Edin- 
burgh, Vol.  II.  269. 

Seal  of  the  Confederate  States,  Vol. 
I.  259. 

Sears,  Frederick  R.,  Vol.  II.  139. 


GENERAL  INDEX. 


39 


Sears,  J.  M.,  Vol.  II.  150. 
Sedelmeyer,  M.,  Vol.  II.  177. 
Sedelmeyer  sale,  Vienna,  Vol.  II. 
24. 

Seure,  M.,  Vol.  I.  76. 
Sharpless,  Charles,  Vol.  II.  127. 
Shattuck,  W.  B.,  Vol.  II.  349. 
Shaw,  Quincy  A.,  Vol.  I.  159. 
Shaw,  Theron,  Vol.  II.  2. 
Sheepshanks    Collection,   Vol.  I. 

127,  152,  155,  171,  224  ;  Vol.  II. 

36,  48,  61,  202,  358. 
Sherman,  General,  Vol.  I.  261. 
Sherwood,  J.  H.,  Vol.  I.  294,  321, 

335,  362,  384  ;  Vol.  II.  45,  251, 

264,  270,  335,  349. 
Shimmin,  Mr.,  Boston,  Vol.  I.  324. 
Sidman,  John  E.,  Vol.  II.  281. 
Simpson,  Sir  Walter,  Vol.  II.  77. 
Sinderman,    Dr.  G.  B.,  Vol.  I. 

83. 

Skene,  A.  J.  C,  M.  D.,  Vol.  II, 
286. 

Slack,  Mrs.  E.  E.,  Vol.  I.  240  ; 

Vol.  II.  210. 
Sligo,  Marquis  of,  Vol.  II.  297. 
Sloane,  William  D.,  Vol.  II.  261. 
Smillie,  James,  Vol.  II.  259. 
Smillie,  William  M.,  Vol.  II.  258. 
Smith,  Bryan,  Vol.  II.  11. 
Smith,  Charles  H.,  Vol.  I.  294. 
Smith,  Charles  S.,  Vol.  II.  127. 

360. 

Smith,  Collingwood,  Vol.  II.  199. 
Smith,  D.  C.  W.,  of  Philadelphia, 

Vol.  II.  345. 
Smith,  Eustace,  Vol.  II.  50. 
Smith,  Governor,  Vol.  I.  130. 
Smith,  Mrs.  Lee,  Vol.  II.  290. 
Smith,  Eoswell,  Vol.  II.  129. 
Sneff,  C.  H.,  Vol.  I.  56 
Societe  des  Amis  des  Arts,  Vol.  I. 

207,  256. 
Society  of  American  Artists,  Vol.  I. 

230,  233,  266  ;  Vol.  II.  30,  56, 


72,  84,  104,  153,  234,  291,  327, 
354. 

Soldiers'  Home,  near  Washington, 

Vol.  II.  367. 
Soldiers'  Monument,  Boston,  Vol. 

II.  122. 

Somerset  Club,  Boston,  Vol.  I.  146  ; 

Vol.  II.  262. 
Somerset  House,  London,  Vol.  II. 

171. 

Sommerard,  M.  Du,  Vol.  I.  284. 
Sommerville,  Dr.  J.  M.,  Vol.  II. 
129. 

Southey,  monument  to,  Vol.  II.  76. 
South  Kensington  Collection,  Vol. 

I.  266  ;  Vol.  II.  36,  207,  288, 
336. 

Spencer,  Mrs.  Lorillard,  Vol.  1. 122. 
Sprague,  Amasa,  Vol.  II.  218. 
Sprague,  William,  Vol.  II.  218. 
Sprea,  Dr.,  Vol.  I.  118. 
Stacpoole,  F.,  Vol.  II.  207. 
Staedel  Institute,  Frankfort,  Vol. 

II.  158,  237. 

Stamford,  Governor,  Vol.  I.  111. 
Stanford,  Hon.  L.,  Vol.  I.  357. 
Starr,  Mrs.  Walter  S.,  Vol.  I.  182. 
Staunton,  Mrs.  E.  J.,  Vol.  II.  351. 
Stausse,  V.,  Vol.  II.  129. 
St.  Clair,  Mr.,  Vol.  II.  266. 
Stearns,  John  N.,  Vol.  I.  149. 
Stebbins,  Mr.,  Vol.  I.  290;  Vol. 

II.  322. 
Stephens,  F.  G.,  Vol.  I.  363. 
Stephenson,  Robert,  Vol.  II.  268. 
Stevens,  Mrs.  Paran,  Vol.  I.  212. 
Stevenson,  J.,  Vol.  II.  221. 
Stewart,  A.  B.,  Vol.  I.  135. 
Stewart,  A.  T.,  collection  of,  Vol. 

I.  33,  55,  263,  264,  290,  296, 

335,  378  ;  Vol.  II.  107,  164,  189, 

361,  368,  369. 
Stewart,  Charles  M.,  Vol.  II.  264. 
Stewart,  Sir  W.  D.,  Vol.11.  117. 
Stewart,  W.  H.,  Vol.  II.  298. 


40 


GENERAL  INDEX. 


St.  George's  Hall,  Liverpool,  Vol.  I. 

4  ;  Vol.  II.  287. 
St.  George's  Society,  Philadelphia, 

Vol.  II.  279. 
Stillman,  James,  Vol.  II.  261. 
Stiner,  Joseph,  Vol.  II.  103. 
Stirbey,  Prince,  Vol.  I.  119. 
St.  John,  Mr.,  Vol.  II.  75. 
St.  Luke's  Hospital,  New  York, 

Vol.  I.  55,  377. 
Stoddard,  E,  H.,  Vol.  II.  12. 
Stokes,  Anson  P.,  Vol.  I.  378. 
Stone,  Mrs.  A.  B.,  Vol.  I.  295. 
Stone,  Mrs.  J.  0.,  Vol.  II.  286. 
Storrs,  Dr.,  Vol.  II.  163. 
Storrs,  Charles,  Vol.  II.  297. 
Stoughton,  Hon.  E.  W.,  Vol.  II. 

189. 

St.  Paul's  Cathedral,  London,  Vol. 

I.  49,  95  ;  Vol.  II.  95,  272,  287, 
360. 

Strogonoff,  Count  P.,  Vol.  I.  240. 
Strousberg  sale,  Paris,  Vol.  I.  3, 

90,  205,  225,  280;  Vol.  II.  26, 

226. 

Stuart,  Alexander,  Vol.  I.  173. 

Stuart,  Joseph,  Vol.  I.  67. 

Stuart,  E.  L.,  Vol.  I.  78,  101,  227  ; 

Vol.  II.  12,  21,  38,  114,  209, 

350. 

Stuart,  Sir  William  Drummond, 

Vol.  II.  297. 
Sturges,  Jonathan,  Vol.  I.  144  ;  Vol. 

II.  134. 

Sturges,  Mr.,  Vol.  I.  67,  227. 
Sutton,  E.  K.,  Vol.  I.  97. 
Sutton,  Mrs.  Eliza,  Vol.  II.  240. 
Suydam  Collection,  Vol.    I.   56 ; 

Vol.  II.  32. 
Suydam,  James  A.,  Vol.  II.  104. 
Sweden,  King  of,  Vol.  I.  359. 
Sweeney,  Captain,  Vol.  II.  260. 
Swinburne,  A.  C,  Vol.  II.  346. 
Szorvady,  Mr.,  Vol.  I.  158. 
Tabourier,  M.,  Vol.  II.  170. 


Taft,  Eichard,  Vol.  II.  11. 
Taylor  Gallery,  Oxford,  Vol.  II. 
228. 

Taylor,  Mr.  Harry,  Vol.  I.  345. 
Taylor,  Mrs.  E.  W.,  Vol.  1.  345. 
Taylor,  Thomas,  Vol.  I.  253,  345. 
Taylor,  William  C,  Vol.  I.  271. 
Temple  Church,  London,  Vol.  II. 
260. 

Temple  Hall,  Inner,  London,  Vol. 

I.  24. 

Temple,  Et.  Hon.  Cooper,  Vol.  II. 
17. 

Thatcher,  J.  B.,  Vol.  II.  77. 
Thayer,  George  L.,  Vol.  II.  128. 
Thayer,  W.  H.,  M.  D.,  Vol.  II. 
286. 

Theater  of  the  Scala  at  Milan,  Vol. 

II.  278. 

Thiers,  M.,  Vol.  II.  301. 
Thomas,  G.  C,  Vol.  II.  359. 
Thomas,  J.  B.  (pictures),  Vol.  I. 
27. 

Thomas,  William,  Albany,  Vol.  I. 
286. 

Thompson,  Launt,  Vol.  I.  335. 
Thompson,  Mrs.  Elizabeth,  Vol.  I. 
121. 

Thorns,  John  B.,  Vol.  II.  198. 
Ticknorand  Fields,  Vol.  I.  19. 
Tietjens,  Mme.   Teresa,  Vol.  II. 
139. 

Tiffany,  L.  C,  Vol.  I.  295,  296. 
Tilton,  Theodore,  Vol.  II.  159. 
Tirrell,  Mr.,  Vol.  II.  1. 
Tomb  of  Napoleon  at  the  Invalides, 

Vol.  II.  59. 
Tosca,  Count,  Vol.  II.  131. 
Toucey,  J.  M.,  Vol.  II.  45. 
Tower  of  Saint-Germain-1' Auxerrois, 

Vol.  II.  73. 
Tower  of  Saint- Jacques  la  Boucherie, 

Paris,  Vol.  I.  281. 
Townsend,  John  P.,  Vol.  I.  1  j  Vol 

II.  153. 


GENERAL  INDEX. 


41 


Trafalgar  Square,  London,  Vol.  I. 

29,  232  ;  Vol.  II.  95. 
Traversi,  Antonio,  Vol.  II.  282. 
Tribunal  of  Commerce,  New  Palace 

of  the,  Vol.  II.  215. 
Trinity  Church,  Boston,  Vol.  II. 

30,  40. 

Trinity  Church,  New  York,  Vol.  I. 

365,371  ;  Vol.11.  230. 
Trinity  College,  Oxford,  Vol.  II. 

341. 

Trison,  H.,  Vol.  I.  369. 
Troyon,  mother  of,  Vol.  II.  302. 
Trumbull  Gallery,  Yale,  Vol.  L  26. 
Tuileries,  Vol.  I.  114,  129,  184, 

187,  196,  197,  376  ;  Vol.  II.  45, 

50,  73,  86. 
Turner,  Charles,  Vol.  II.  220. 
Turner,  Mr.,   Brooklyn,  Vol.  II. 

232. 

Tweed,  William  M.,  Vol.  II.  354. 

Uffizi,  Florence,  Vol.  I.  56,  199, 

226,  247,  250,  273  ;  Vol.  II.  140, 

163,  192,  234,  308. 
Uncle  Tom's  Cabin,  Vol.  II.  289. 
Union  Club,  Boston,  Vol.  I.  146. 
Union  League  Club,  New  York, 

Vol.  I.  377  ;  Vol.  II.  101,  247, 

275,  335. 
Union  League  Club,  Philadelphia, 

Vol.  II.  1,  144. 
University  of  Pisa,  Vol.  I.  199. 
University  of  London,  Vol.  I.  229  ; 

Vol.  II.  171. 

Valette,  Count  W.  de  la,  Vol,  II. 
195. 

Van  Arden,  Isaac,  Vol.  II.  103. 
Van  Brunt,  Mrs.  D.  B.,  Vol.  II. 
139. 

Van  Cuyck,  M.,  Vol.  II.  177. 
Vanderbilt,  William  H.,  Vol.  I. 

321  ;  Vol.  II.  220. 
Vanderpoel,  J.,  Vol.  II.  214. 


Van  Deuzer,  S.  R.,  Vol.  I.  56. 
Van  Doren,  Dykeman,  Vol.  I.  313. 
Van  Valkenburg,  A.,  Vol.  II.  259. 
Van  Valkenburg,  P.,  Vol.  I.  321. 
Vassar  College,  Vol.  I.  238. 
Vatican,  the,  Vol.  II.  122. 
Vendome,  Column,  Vol.  I.  37,  223. 
Venier  Voldo,  Vol.  I.  143. 
Verdi,  Vol.  II.  131. 
Vernet  Gallery  at  Avignon,  Vol.  II. 
318. 

Vernon  Collection,  Vol.  I.  141, 152, 
154,  236,  269,  304,  324,  351,  365  ; 
Vol.  II.  14,  33,  61,  69,  137,  180, 
216. 

Vernon,  Robert,  Vol.  I.  233  ;  Vol. 
II.  358. 

Vickers,  Hon.  George,  Vol.  II.  282. 
Victor  Emmanuel,  Vol.    I.  379  ; 

Vol.  IL  80,  181. 
Villa  Massimi,  Vol.  I.  277  ;  Vol. 

II.  158. 

Villa  Oppenheim,  Florence,  Vol.  II. 
181,  250. 

Villa  Warschauer  at  Charlotten- 
'  burg,  Vol.  I.  344. 
Virtue,  James  S.,  Vol.  II.  208. 
Viscount  D'Opia,  Vol.  I.  210. 
Volcker,  M.,  Vol.  I.  77. 
Voykerstoot,  Baroness,  at  Brussels, 
Vol.  II.  310. 

Wadsworth  Gallery,  Hartford,  VoL 

I.  36,  144. 
Wagner,  Consul,  of  Berlin,  Vol.  I. 

117. 

Wagner,  Senator,  Vol.  L  287. 
Waldo,  George  C,  Vol.  II.  254. 
Wales,  Mr.,  Vol.  II.  290. 
Walhalla,  the,  Vol.  II.  76. 
Walker,  Mr.  Theophilus,  Vol.  I. 
14. 

Wallace,  Sir  Richard,  Vol.  II.  177. 
Wallack,  Lester,  Vol.  II.  261. 
Wallis,  H.,  Vol.  I.  138,  258. 


42 


GENERAL  INDEX. 


Walraff-Riehartz  Museum,  Cologne, 
Vol.  I.  46. 

Walters  Gallery,  Baltimore,  Vol.  I. 
29,  38,  60,  72,  78,  89,  91,  114, 
129,  137,  166,  197,  199,  200,  205, 
230,  238,  252,  275,  290,  319,  354, 
370  ;  Vol.  II.  5,  8,  12,  64,  111, 
117,  147,  185,  245,  298,  311,  313, 
339,  352,  369. 

Ward,  Capt.  William,  Vol.  II.  43. 

Ward,  J.  Q.  A.,  Vol.  II.  153. 

War  Office  at  Washington,  Vol.  I. 
261. 

Warren,  Burges,  Vol.  I.  83. 
Warren,  E.  B.,  Vol.  II.  278. 
Warren,  G.  B.,  Jr.,  Vol.  II.  13. 
Warren,  G.  H.,  Vol.  I.  45. 
Warren,  Mrs.  S.  D.,  Vol.  I.  130, 

164';  Vol.  II.  119,  232. 
Warren,  S.  D.,  Vol.  I.  286,  305  ; 

Vol.  II.  1,  13,  231. 
Warren,  Walter  P.,  Vol.  I.  231. 
Warren,  William,  Boston,  Vol.  II. 

367. 

Wartburg,  the,  Vol.  II.  145,  221. 
Waterloo  Place,  London,  Vol.  I. 
50,  71. 

Watson,  M.  P.,  Vol.  I.  137. 
Watson,  Mr.,  of  New  York,  Vol. 
II.  1. 

Wayland,  C.  N.,  Vol.  II.  11. 
Weeks,   James  H.,  Vol.  I.    12  ; 

Vol.  II.  160. 
Weeks,  Mrs.  J.  H„  Vol.  II.  321. 
Wehrstorfer,  Vol.  I.  6. 
Weimar,    Grand   Duke   of,  Vol. 

II.  7. 

Welles  de  La  Valette,  Count,  Vol.  I. 
200. 

Welling,  H.  J.,  Vol.  I.  52. 
Wellington,  Duke  of,  Vol.  I.  310  ; 

Vol.  II.  144,  288,  332. 
Wertheimber  sale,  Vol.  I.  73,  225  ; 

Vol.  II.  92,  109. 
Wesleyan  College,  Vol.  I.  292. 


Western  Union  Telegraph  Office, 

Vol.  I.  143. 
Westminster  Abbey,  Vol.  I.  4,  23, 

49  ;  Vol.  II.  95,  287,  361. 
Westminster  Hall,  Vol.    I.  365; 

Vol.  II.  285. 
Westminster,  Marquis  of,  Vol.  I. 

179. 

Westminster,  Palace  of,  Vol.  II. 

285,  337. 
Westphalia,  King  of,  Vol.  II.  316. 
Westphalian  Art  Union,  Vol.  I. 

48,  53. 

Wetmore,  G.  P.,  Vol.  I.  276,  369. 
Wheatland,  George,  Vol.  II.  139. 
Whidden,  Mr.,  Vol.  II.  1. 
White,  A.  J.,  Vol.  II.  348. 
White,  Col.  T.  G.,  Vol.  II.  348. 
White,  Dr.  Octavius,  Vol.  II.  347. 
White,  J.  H.,  Vol.  II.  260. 
White,  J.  J.  B.,  Vol.  II.  348. 
White,  Mrs.  S.  F.,  Vol.  I.  130. 
Whitney,  Asa,  Vol.  II.  25. 
Whitney,  George,  Vol.  I.  78 ;  Vol 

II.  12,  209,  359. 
Whitney,  W.  H.,  Vol.  II.  130. 
Whittaker,  G.  W.,  Vol.  I.  83. 
Whittier,  J.  G.,  Vol.  I.  102,  121. 
Wickham,  William  H.,Vol.  II.  134. 
Widner,  P.  A.,  Vol.  II.  130. 
Wieland  Hall  at  Weimar,  Vol.  IL 

193. 

Wigglesworth,  Thomas,  Vol.  I.  128, 
164,  240,  278,  383  ;  Vol.  II.  156, 
157,  220. 

William  II.  of  Holland,  Vol.  II. 
22. 

Williams,  J.  T.,  Vol.  I.  207,  247; 

Vol.  II.  86,  339. 
Williams,  S.  T.,  Vol.  II.  258. 
Williams,  Thomas,  Vol.  II.  1. 
Wilson  Exhibition,  Brussels,  Vol.  I. 

30,  64,  77  ;  Vol.  II.  185,  208. 
Wilson  Gallery,  Brussels,  Vol.  I. 

205. 


GENERAL  INDEX. 


43 


Wilson,  M.,  Vol.  I.  202. 
Wilson  sale,  Paris,  Vol.  I.  225. 
Wilson,  W.,  Vol.  II.  259. 
Winch,  Mr.,  of  London,  Vol.  I.  245. 
Winter  Palace,  St.  Petersburg,  Vol. 

I.  27  ;  Vol.  II.  283. 
Withering  sale,  Paris,  Vol.  I.  279 ; 

Vol.  II.  68. 
Wolfe,   Miss,  Vol.  I.  112,   200  ; 

Vol.  II.  240,  322,  361. 
Wolfe  sale,  New  York,  1863,  Vol.  I. 

3,  46,  89,  96,  134,  272,  317,  337 ; 

Vol.  II.  23,  24,  26,  239,  371. 
Wolsey,  Mr.,  Vol.  II.  208. 
Woltmann,  Alfred,  Vol.  I.  49. 
Wolverton,  Mr.,  of  Philadelphia, 

Vol.  II.  306. 
Woods,  Charles  G.,  Vol.  II.  328. 
Woolsey,  C.  W.,  Vol.  II.  153. 
Wright,  Mr.,  of  Boston,  Vol.  II. 

232. 


Wright  sale,  Vol.  II.  21. 

Wright,  Samuel  V.,  collection  of, 
Vol.  I.  5,  52,  78,  108,  295,  325, 
334,  335,  362,  370  ;  Vol.  II.  115, 
153,  173,  237,  261,  288,  297. 

Wright,  William  P.,  collection  of, 
Vol.  I.  3. 

Wiirtemberg,  King  of,  Vol.  I.  106, 
365  ;  Vol.  II.  125. 

Wyman,  S.  G.,  Vol.  II.  102. 

Wyndham,  Hon.  Percy,  Vol.  II. 
346. 

Yale  College,  Vol.  I.  10,  376. 
Yale  School  of  Fine  Arts,  Vol.  II. 
351. 

Young,  Mrs.  M.  B.,  of  Fall  Eiver, 

Vol.  II.  208. 
Younglove,  Mrs.,  Vol.  II.  174. 

Zollickoffer,  Dr.  H.F.,  Vol.  II.  338. 


GETTY  CENTER  LIBRARY 


3  3125  00957  3490 


